THE  COLUMBUS  GALLERY. 


FRONTISPIECE — THE  PAULUS  JOVIUS  CUT. 


THE 


COLUMBUS  GALLERY. 


T  HL 


"DISCOVERER   OF  THE   NEM   MORLD" 

AS    REPRESENTED    IN    PORTRAITS,    MONUMENTS,  STATUES, 
MEDALS   AND    PAINTINGS. 

HISTORICAL  DESCRIPTION 

BY 

NESTOR  ^ONCE  DE  LEON; 

(  ILLUSTRATED.) 


N.    PONCE    I3E    LEON, 

4O     Broadway,    New    York 

1893 


ENTERED  ACCORDING  TO  ACT  OF  CONGRESS,  IN  THE  YEAR 

N.  PONCE   DE   LEON, 

IN  THE  OFFICE  OF  THE  LIBRARIAN  OF  CONGRESS, 
AT  WASHINGTON. 


CAUL  ON     PRESS, 

20  VESEY  STREET, 

NEW  YORK. 


INTRODUCTION. 


Having,  for  a  period  of  some  years,  investigated  the  subject  of  the  por 
traits  of  Columbus,  and  embodied  the  results  of  my  inquiries  in  an  address 
recently  delivered  before  the  American  Geographical  Society,  I  feel  myself 
better  able  than  many  others  would  be  to  form  an  opinion  of  the  value  and 
extent  of  Mr.  Ponce  de  Leon's  labors  in  this  difficult  field  of  inquiry.  I  have 
read  in  manuscript  a  large  part  of  his  work — I  think  nearly  the  whole  of  it, 
or,  at  least,  sufficiently  to  ascertain  the  facts  that  he  has  brought  together 
and  the  conclusions  he  has  based  upon  them.  As  respects  the  facts,  his  labor 
has  been  most  exhaustive.  He  has,  in  my  opinion,  ascertained  everything 
that  is  now  within  the  reach  of  the  most  diligent  scholar.  He  is  an  accom 
plished  linguist  and  has  had  the  advantage  of  being  able  to  read  the  works 
consulted  in  the  language  in  which  they  were  written,  and  has  not  been  com 
pelled,  as  many  investigators  are,  to  depend  upon  translations.  This  is  of 
value,  for  I  have  found  in  my  own  investigation  of  this  subject  passages  not 
only  translated  imperfectly,  but,  in  some  cases,  so  erroneously,  as  to  be  mis 
leading.  As  to  his  conclusions,  I  found  to  my  surprise — and  I  suppose  it  has 
been  equally  so  to  him — that  although  our  investigations  were  conducted  and 
our  respective  productions  prepared  entirely  independent  of  each  other,  that 
we  have  arrived  generally  at  the  same  results  ;  so  much  so,  in  fact,  as  to  give 
the  appearance,  in  different  parts,  as  if  the  one  had  been  written  from  the 
other.  During  my  acquaintance  with  him  of  some  years,  and  as  fellows  of 
the  Geographical  Society,  we  have  frequently  conversed  upon  the  subject  of 
the  portraits  of  Columbus,  and  in  preparing  my  address  I  asked  him — as  he 
was  especially  competent  to  do  so — to  give  me  his  opinion  of  the  character  of 
Columbus  that  I  might  give  it  in  the  address,  in  connection  with  that  of 
others,  upon  this  much  contested  question.  In  our  mode  of  investigation, 
however,  and  in  what  we  have  respectively  written,  we  have,  as  I  have  said, 
worked  independently,  and  it  was  not  until  our  labors  were  completed  and 


MG4652 


what  we  had  written  was  ready  for  publication,  that  I  found  how  much  we 
agreed  in  the  results  arrived  at. 

I  make  this  statement,  as  my  own  production  is  prior  in  point  of  time, 
having  been  delivered  as  my  annual  address  before  a  society  of  which  I  am 
the  President,  and  it  is  now  printed  in  the  Journal  of  that  society.  I  felt  that 
it  was  due  to  Mr.  Ponce  de  Leon  that  no  reader  of  his  book  should  get  an 
impression  that  he  was  in  any  way  indebted  to  my  prior  publication,  and  that 
he  should  receive,  as  he  is  entitled  to,  the  full  benefit  of  the  extensive  re 
searches  he  has  made  and  the  conclusions  he  has  founded  upon  them. 

In  giving  him  the  high  praise  which  is  due  to  him  for  his  labors,  I  regret 
that  he  did  not  include  in  this  book  what  he  says  in  his  preface  he  contem 
plated  in  respect  to  the  general  subject  of  Columbus.  He  is  the  best  informed 
gentleman  with  whom  I  have  conversed  upon  everything  relating  to  the  great 
discoverer,  and  whatever  he  may  give  to  the  public  upon  that  subject  will  be 
reliable  and  valuable. 

CHAS.  P.  DALY. 

March  29,  1893. 


PREFACE 


It  was  my  original  intention,  when  I  undertook  the  publication  of  this 
book,  to  have  it  embrace  not  only  a  complete  Columbian  Iconography,  but 
also  a  series  of  essays  bearing  upon  the  most  important  events  in  the 
life  of  the  Discoverer  of  our  Continent.  That  portion  of  the  book,  however, 
relating  to  the  portraits,  monuments,  statues  and  paintings,  has  become  so 
extensive  that  I  have  been  compelled  to  leave  for  a  subsequent  work  the  treat 
ment  of  those  interesting  particulars  which  embrace  studies  concerning  the 
place  where  Columbus  was  born  ;  the  date  of  his  birth  ;  the  facts  known  or 
supposed  to  be  known  about  his  life  before  he  entered  the  service  of  the 
Catholic  Kings  ;  the  persons  who  protected  him,  and  their  participation  in  the 
enterprise ;  the  source  from  whence  were  derived  the  funds  employed  in  the  first 
expedition  ;  his  relations  with  the  brothers  Pinzon  ;  the  place  of  his  first  land 
fall  ;  his  administration  of  the  lands  discovered  or  colonized  by  him  ;  the 
causes  of  his  imprisonment  ;  the  place  and  date  of  his  death  ;  the  resting-place 
of  his  remains ;  his  character ;  and,  finally,  many  other  points  of  less 
importance  about  his  life  which  have  been  hidden  under  a  thick  veil  until  our 
time,  when  some  historians  and  critics,  after  many  efforts,  have  been  able  to 
partially  raise  it,  and  throw  true  light  on  some  of  those  much  controverted 
questions.  My  object  was  to  present  in  this  work  all  their  discoveries,  but  I 
found  this  field  to  be  so  wide  that  it  is  even  more  extensive  than  the  book  I 
now  offer  to  the  reader. 

As  I  have  written  this  book  in  a  language  which  is  not  my  native  tongue, 
and  as  I  am  fully  aware  that  my  knowledge  of  all  its  intricacies  is  rather 
deficient,  I  have  called  to  my  aid  the  services  of  a  former  officer  of  the  British 
Army,  who,  besides  being  a  graduate  of  the  Oxford  University,  is  a  profes 
sional  journalist,  and  has  occupied  important  positions  here  on  some  of  the 
best  reviews  and  magazines, — Mr.  A.  C.  Stevens,  who  has  revised  all  my  copy 
and  corrected  its  numerous  errors.  With  great  pleasure  I  take  advantage  of 
this  opportunity  to  tender  him  my  best  thanks  for  his  most  useful  services. 


I  also  wish  to  acknowledge  the  kindness  of  many  other  persons  to  whom 
I  am  equally  indebted  for  pictures,  descriptions  and  notes  referring  to  the 
subject.  Among  them  I  must  especially  mention  Ex-Chief  Justice  Charles  P. 
Daly,  President  of  the  American  Geographical  Society ;  Mr.  William  E. 
Curtis  ;  the  Editor  of  the  Cosmopolitan  Magazine  ;  Mr.  George  C.  Hurlburt, 
Librarian  of  the  American  Geographical  Society  ;  Mr.  Wilberforce  Earnes,  of 
the  Lenox  Library  ;  Mrs.  Helen  C.  Conant ;  and  Messrs.  Ernesto  de  Zaldo, 
Benjamin  Giberga,  Arturo  Cuyas,  Juan  Romeu,  and  N.  Hammelberg,  of  this 
city ;  Mr.  Charles  F.  Gunther,  of  Chicago ;  Messrs.  Carlos  I.  Parraga,  Jose  M. 
Ramirez  Arellano,  Jose  S.  Jorrin,  and  Hector  de  Saavedra,  of  Havana,  and 
finally  Mr.  Nicolas  Dominguez  Cowan,  of  the  City  of  Mexico. 

t 
NESTOR   PONCE  BE   LEON. 

NEW  YORK,  APRIL  1,  1893. 


THE  COLUMBUS  GALLERY. 


?OUIl  centuries  have  scarcely  elapsed  since  Columbus  set  his  foot 
for  the  first  time  on  American  soil,  yet  dense  darkness  already 
covers  almost  every  one  of  the  most  important  acts  of  his 
life.     Although  it  may  be  considered  as  positive  that  he  was 
born  at  Genoa,  there  is  not  a  single  trustworthy  document  in 
existence  which  proves  it  in  an  incontrovertible  manner,  and 
over  twenty  different  places  contend  for  the  honor  of  having  been 
his  birthplace. 

The  date  of  his  birth  is  also  unknown,  and  is  a  point  on  which  there  is  a 
great  diversity  of  opinion  among  historians:  some  fix  it  in  1430,  others  twenty- 
six  years  later,  in  14,56,  and  each  one  of  them  alleges  in  defence  of  his  opinion 
reasons  which  to  all  appearances  are  well-founded. 

Nobody  can  explain  in  a  satisfactory  manner  his  career  during  the  long 
period  preceding  his  entering  the  service  of  the  Catholic  Kings.  The  source  of 
the  funds  employed  in  fitting  out  the  petty  squadron  with  which  he  achieved 
his  great  discovery  has  given  rise  to  a  multitude  of  absurd  fables  and  stories, 
the  most  important  of  which  is  that  which  refers  to  the  pawning  of  the  jewels 
and  ornaments  of  Isabella  the  Catholic,  a  tradition  the  falsity  of  which  has 
been  shown  in  the  most  positive  manner  by  Mr.  Cesareo  Fernandez  Duro,  one 
of  the  most  competent  authorities  on  this  point,  a  great  admirer  of  the  famous 
Queen,  and  than  whom  no  greater  champion  of  the  glories  of  Spain  can  be 
found. 

The  type  and  size  of  the  vessels  with  which  the  great  undertaking  was 
accomplished  is  also  a  matter  of  doubt.  It  is  likewise  disputed  and,  in  my 
opinion,  it  will  never  be  positively  known,  which  was  the  spot  of  the  first 
landfall.  The  exact  date  of  his  death  is  still  uncertain,  the  house  in  which 
he  died  is  unknown,  and  even  the  resting  place  of  his  remains  is  a  matter  of 
contention  !  Such  was  the  indifference  of  his  contemporaries  to  the  glory  of 


2  THE  COLUMBUS  GALLERY. 

the  man  who  accomplished  the  most  wonderful  discovery  ever  dreamed  of  by 
the  human  mind,  the  man  who  rent  the  veil  which  shrouded  the  Sea  of  Dark 
ness  and  revealed  to  an  astonished  Old  World  a  New  World  hitherto  unknown  ! 

How  could  we  expect  that  ungrateful  generation  to  have  taken  the  trouble 
to  preserve  for  posterity,  either  on  board  or  canvas,  in  marble  or  bronze,  the 
lineaments  of  the  unlucky  navigator,  who,  forsaken  by  those  whom  he  had 
benefited  and  enriched,  died  at  a  miserable  inn  in  Valladolid,when  none  of  the 
con  tempo  caxy  writers,  not  even  his  personal  friend,  the  historian  and  first 
Chronicler .  of  the  Indies,  Peter  Martyr,  deigned  to  mention  in  his  works  the 
date  of  the  death  of  the  illustrious  Admiral  ] 

The  grand  figure  of  Columbus,  his  genius,  his  unhappy  life,  the  ingratitude 
with  which  he  was  treated  by  those  whom  he  had  made  powerful  and  rich, 
have  ever  awakened  in  me  the  greatest  interest  and  the  deepest  sympathy. 
In  the  course  of  my  studies  on  the  history  of  my  country,  I  have  had  occasion 
to  investigate  many  of  the  obscure  or  dubious  facts  relative  to  the  life  of 
the  Admiral,  and  although  I  am  not  a  hero- worshipper,  nor  do  I  consider 
Columbus  an  indispensable  factor  in  the  history  of  humanity,  yet  I  admire 
him  as  one  of  the  greatest  men  who  ever  existed,  and  who,  if  not  the  hero,  the 
martyr  or  the  apostle  depicted  by  the  mystic  Roselly  de  Lorgues,  is  very  far 
from  being  the  pirate,  thief,  coward  and  forger,  represented  by  his  unjust 
detractor,  the  distinguished  American  writer,  Aaron  Goodrich.  In  truth, 
judging  Columbus  with  strict  justice  and  according  to  the  moral  canons  of 
his  times,  he  is  entitled  to  be  considered  as  one  of  the  best  and  purest  men  of 
that  period  of  ferocity  and  demoralization. 

One  of  the  many  points  which  I  have  carefully  investigated  has  been  the 
personal  appearance  of  the  Admiral.  In  vain  have  I  tried  to  find  some 
portrait  or  monument  representing  him  more  or  less  trustworthily.  I  have 
in  my  collection  very  nearly  five  hundred  so-called  portraits  of  Columbus, 
many  of  which  are  taken  from  statues,  etc.,  and  I  have  examined,  perhaps, 
double  this  number.  They  differ  so  widely  that  they  cannot,  under  any 
circumstances,  represent  the  same  man. 

After  a  very  careful  examination,  I  have  found  that  they  can  be  reduced  to 
about  thirty-five  or  forty  types,  of  which  the  others  are  copies  with  greater  or 
lesser  changes. 

The  pictures  and  statues  of  Columbus  may  be  divided  into  three  great 
groups,  to  wit : 

First.  Pictures  and  engravings  that  were,  perhaps,  taken  from  life  at 
different  periods  of  his  career,  and  copies  of  them  which  are  more  or  less 
variations  from  the  originals. 


THE  COLUMBUS  GALLERY. 

Second.  Pictures,  engravings,  statues  and  bas-reliefs  executed  by  their 
authors  in  strict  accordance  with  the  descriptions  of  the  Admiral  which  his 
contemporaries  have  left. 

Third.  Imaginary  pictures,  engravings  and  statues  by  various  artists  or  so- 
called  artists. 

I  will,  hereinafter,  present  copies  and  descriptions  of  the  most  important 
among  them ;  but  I  believe  it  would  be  well  to  transcribe  now  the  descriptions 
of  the  Admiral  left  by  Peter  Martyr,  Oviedo,  Las  Casas,  and  Ferdinand 
Columbus,  or  whoever  it  was  that  compiled  the  Historic  published  under  his 
name. 

Peter  Martyr  describes  him  "  as  a  man  of  tall  stature,  ruddy  color,  well- 
built  and  of  good  appearance." 

Oviedo  (Book  II.  Chap  II.}  says  he  was  "a  man  of  good  stature  and 
aspect,  tall,  rather  than  medium-sized,  of  vigorous  build,  with  brilliant  eyes, 
and  well  proportioned  as  to  the  rest  of  his  face;  very  red  hair  and  with  a 
face  somewhat  ruddy  and  freckled;  gracious  when  he  wanted  to  be  so,  full 
of  ire  when  his  passions  were  roused." 

Las  Casas  (Historia  de  las  Indias,  Book  I.  Chap.  II.}  says:  "As  to  his 
exterior  person  and  corporal  proportions,  he  was  tall  rather  than  medium - 
sized  ;  the  face  long  and  commanding  ;  aquiline  nose,  light  eyes,  complexion 
fair,  tending  to  a  deep  red.  The  beard  and  hair  when  he  was  a  young  man 
were  fair,  but  very  soon  turned  white  on  account  of  his  many  toils  ;  finally, 
in  his  person  and  venerable  aspect,  he  presented  the  appearance  of  a  person 
of  high  position  and  authority  and  worthy  of  all  reverence." 

Ferdinand  Columbus,  his  son,  in  (Chap.  III.}  of  the  book  attributed  to 
him,  says  :  "The  Admiral  was  a  man  of  good  appearance,  above  the  medium 
height,  with  long  face  and  somewhat  prominent  cheek-bones,  and  of  average 
weight.  He  had  an  aquiline  nose,  light  eyes,  fair  complexion  and  very  ruddy. 
When  a  youth  his  hair  was  fair,  but  at  thirty  years  of  age  it  had  all  turned 
white." 

I  will  not  transcribe  the  descriptions  of  Gromara,  Benzoni  and  Herrera,  as 
they  wrote  a  long  time  after  his  death,  and  did  nothing  more  than  copy  from 
Peter  Martyr,  Oviedo,  Las  Casas  and  Fernando. 

Any  picture  not  agreeing  with  these  descriptions,  must  be  immediately 
rejected  as  apocryphal  and  absolutely  worthless. 


THE  COLUMBUS  GALLERY. 


FIRST   GROUP. 


I  consider  as  belonging  to  the  first  group,  that  is  to  say  to  the  pictures  or 
engravings,  the  originals  of  which  were,  perhaps,  taken  from  life  at  different 
periods  of  the  Admiral's  career,  the  following,  namely  : 

I.  The  original  of  the  engraving  published  in  the  illustrated  edition  of  the 
works  of  Paulus  Jovius.  This  was  taken  from  a  picture  in  the  Jovian  Gallery, 
which  was  there  before  1546.  A  copy  of  the  same  picture  made  before  the 
year  1568,  is  in  the  Uffizi  Gallery  in  Florence.  There  are  many  pretended 
originals  of  this  Jovian  picture  : 

1 — The  portrait  at  Como,  known  as  the  de  Orchi. 

2 — The  picture  at  the  National  Library,  Madrid,  known  as  the  Yanez 

portrait. 

3 — The  Cogoletto  portrait. 
4 — The    Cuccaro     portrait,    from    which    was    taken    the    Cancellieri 

medallion. 
II.  The  original  of  the  engraving  published  by  Capriolo. 

III.  The  picture  attributed  to  Antonio  del  Rincon. 

IV.  The  Juan  de  la  Cosa  portrait. 
V.  The  Lotto  portrait. 

VI.  The  miniature  in  the  Cluny  Museum  at  Paris,  from  which,  perhaps, 
the  portrait  by  Sir  Anthony  More  was  taken. 

And  all  the  pictures  taken  with  more  or  less  fidelity  from  the  above- 
mentioned.  I  will  now  proceed  to  describe  them. 

I.     THE  JOVIUS   PORTRAIT. 

Paulus  Jovius,  or  Paolo  Giovio,  Archbishop  of  Nocera,  was  born  in  1483, 
and  died  in  1552. 

Jovius  published  in  J592,  at  Florence,  a  book  called  Elogia  Virorum 
Bellied  Virtute  Illustrium,  in  which  is  found  a  eulogy  of  Columbus.  This 


THE  COLUMBUS  GALLERY.  5 

edition,  notwithstanding  the  authoritative  opinion  of  Harrisse,  had  no 
engravings.  There  is  another  edition  of  1551,  which  I  have  not  succeeded 
in  finding,  but  Winsor  says  (II.  72,)  that  it  has  no  engravings,  and  that  it 
gives  an  account  of  Columbus  on  p.  Ill;  but  the  third  edition  of  the  said 
book,  published  at  Basle  in  1575,  was  full  of  engravings.  Among  them  is 
the  one  which  I  copy.  In  the  third  edition  the  wood  engravings  were  by 
Tobias  Stimmer,  a  native  of  Schaffhausen,  and  the  same  portrait  is  found  in  it. 

In  order  to  show  the  paramount  importance  of  this  portrait  it  will  be 
necessary  to  enter  into  some  details  regarding  the  illustrious  collector  of  the 
gallery. 

Jovius  was  born  at  Como,  Lombardy,  on  April  19th,  1483,  and  died  at 
Florence,  on  December  llth,  1552.  He  studied  at  the  great  University  of 
Pavia,  from  which  he  graduated  as  a  physician,  with  the  highest  honors. 
Having  much  love  for  geographical  and  historical  studies  and  also  for 
natural  history,  he  abandoned  medicine  and  applied  himself  to  literature. 
He  was  a  man  without  conscience  or  principles,  mendacious,  a  flatterer, 
calumniator  and  intriguer,  but  of  brilliant  talents,  extensive  knowledge, 
untiring  activity,  and  of  great  artistic  taste.  Thanks  to  these  high  qualifica 
tions,  lie  soon  won  eminence  at  the  Pontifical  Court  and  attained  the 
position  of  Archbishop  of  Nocera.  His  works  became  famous  in  his  time,  but 
as  his  venal  pen  never  hesitated  in  writing  in  favor  of  the  highest  bidder,  he  is 
at  present  absolutely  discredited  as  a  historian. 

Jovius  amassed  an  immense  fortune;  and  his  knowledge,  his  artistic 
tastes  and  his  venality,  placed  him  in  close  personal  relations  with  the 
foremost  representative  men  of  his  time.  Eight  enormous  volumes  have  been 
published  containing  a  portion  of  his  correspondence  with  a  very  large 
number  of  persons  distinguished  in  arms,  sciences,  literature  and  arts,  among 
whom  were  Emperor  Charles  V.,  King  Henry  II.,  Popes  Clement  VII.,  Julius 
II.,  Leo  X.,  and  Paul  III.,  the  Constable  de  Montmorenci,  the  Duke  of  Alba, 
and  Cardinals  Farnesi  and  Guise. 

He  wrote  a  large  number  of  volumes  on  many  subjects,  and  in  his  famous 
villa  on  the  shore  of  the  Lake  of  Como,  he  collected  a  splendid  library,  a 
beautiful  cabinet  of  antiquities,  and  finally  a  superb  gallery  of  portraits  of 
famous  men.  These  have  won  for  him  an  immortality  which  he  did  not 
deserve,  on  account  of  his  vices  and  immorality. 

On  the  same  spot  where  the  villa  of  Pliny  the  Younger  once  stood  near 
Lake  Como,  Jovius  built  his  house,  a  part  of  which  yet  remains.  He  formed 
his  large  collection  of  portraits  of  famous  persons  at  an  immense  expense. 
Those  of  all  his  contemporaries  were  taken  from  life  by  the  most  distinguished 


6  THE  COLUMBUS  GALLERY. 

artists  ;  and  his  collection  acquired  such  great  importance  and  favor  that 
so  noble  a  genius  as  Julius  Romanus  bequeathed  to  it,  in  1547,  a  superb 
collection  of  portraits,  the  work  of  Raphael,  for  he  believed  "he  could  not 
find  a  better  place  for  them."  Many  artists  sent  their  works  there  because 
they  considered  it  an  honor  to  be  represented  in  that  famous  gallery.  About 
the  year  1550  the  Duke  of  Tuscany  sent  Christopher  dell' Altissimo  and  other 
painters  there,  to  take  copies  of  them  for  the  Florence  Gallery;  and  we  know 
that  before  1568  two  hundred  and  eighty  of  these  copies  were  hanging  there, 
because  Vasari  mentions  them  on  that  date,  and  among  those  portraits  he 
includes  that  of  Columbus  under  No.  6  of  the  series  of  "Heroes."  This 
portrait  is  yet  hanging  in  the  Gallery  and  is  numbered  397.  In  the  Vasari 
Catalogue  it  is  properly  placed  between  Vespucci  and  Magellan. 

The  correspondence  of  Jovius  gives  the  fullest  evidence  of  his  strenuous 
efforts  and  great  expenditures  to  obtain  trustworthy  portraits  of  the  persons 
he  wanted  to  place  in  his  gallery.  He  was  a  fanatical  and  enthusiastic  believer 
in  Columbus,  to  whom  he  wanted  to  erect  a  magnificent  statue.  It  is  not 
credible  that  he  would  be  satisfied  with  an  imaginary  copy  of  the  features 
of  his  great  fellow-citizen,  nor  is  it  likely  that  he  should  have  ordered  a 
portrait  of  the  Admiral  from  life,  as  he  was  only  twenty-three  years  old  at  the 
time  of  the  death  of  Columbus.  Therefore  we  are  bound  to  believe  that  he 
did  not  hesitate  to  acquire,  at  any  price,  some  trustworthy  portrait  of  the 
Admiral  taken  from  life,  either  by  some  Spanish  painter  or  by  one  of  the 
many  Italian  artists  who  were  then  traveling  through  Spain. 

Years  after  the  death  of  Jovius  a  large  part  of  this  gallery  was  distributed 
among  the  different  branches  of  his  family,  and  although  a  great  number  of 
his  pictures  are  yet  kept  in  the  same  place,  unluckily  that  of  Columbus  is  not 
among  them,  and  it  is  not  known  where  it  can  be  found.  Some  persons 
pretend  that  the  picture  at  Madrid,  known  as  the  Yanez  portrait,  is  that 
original ;  others  that  it  is  the  De  Orchi  picture.  I  will  speak  hereinafter  about 
these ;  but  I  must  state  thus  early  that  none  of  them  can  be  either  the  original 
of  the  engraving  in  the  work  of  Jovius,  or  in  that  of  Capriolo,  nor  the  original 
of  the  famous  and  well-authenticated  copy  in  the  Uffizi  Gallery  at  Florence, 
which  is  positively  known  to  have  been  taken  from  the  Como  picture. 

I  agree  with  an  illustrious  Spanish  writer,  Cayetano  Rossell,  who  says : 
"In  my  opinion,  it  is  incontrovertible  that  Jovius  obtained  somewhere  an 
authentic  portrait  of  the  Discoverer  of  the  New  World."  This  is  proven  by 
the  copy  made  for  the  Uffizi  Gallery,  by  tradition,  and  by  the  assertion  of  the 
editor  of  the  work  of  Jovius,  who  reproduced  all  the  pictures  found  in  the 
museum  of  Jovius,  and  says:  "I  have  at  much  expense  employed  an  eminent 


THE  COLUMBUS  GALLERY. 


artist  to  engrave  Jovian  portraits  painted  from  life."    Furthermore,  we  are  led 
to  believe  it  by  the  personal  importance  of  Jovius  himself. 

As  Jovius  had  personal  relations  with  the  Emperor  Charles  V.  and  with 
many  distinguished  Spaniards,  nothing  could  be  easier  than  for  him  to 
obtain  either  an  original  portrait 
from  life  or  a  copy  of  the  same, 
by  an  artist  at  the  court  of  Spain, 
perhaps  by  Antonio  del  Rincon, 
who  undoubtedly  knew  Columbus 
personally,  as  he  died  in  1500, 
and  who  during  the  last  years  of 
his  life  was  always  at  court,  hav 
ing  been  appointed  royal  painter 
by  the  Catholic  kings  many  years 
before. 

The  importance  of  this  original 
picture  being  thus  explained,  I 
will  proceed  to  describe  the  cut 
taken  from  it,  which  is  the  first 
portrait  of  Columbus  ever  pub 
lished. 

The  engraving  is  on  wood  and 
somewhat  rough,  but  full  of  vigor 
and  life,  as  is  almost  every  one  in 
the  book.  It  is  a  copy  taken  from  the  edition  of  the  Elogia  of  1575,  which 
I  owe  to  the  kindness  of  the  well-known  Americanist,  ex-Chief  Justice  Charles 
P.  Daly.  It  represents  Columbus  at  over  fifty  years  of  age,  with  abundant 
and  curly  hair,  without  beard  or  mustache.  It  is  a  half-length,  showing  the 
hands.  The  dress  looks,  at  first  sight,  like  that  of  a  monk,  but  I  believe,  with 
Messrs.  Carderera  and  Rios,  that  it  is  simply  the  old  Spanish  tabard,  a  kind 
of  cloak  worn  in  Spain  in  the  most  ancient  times,  and  still  in  use  by  the  sailors 
of  the  Bay  of  Biscay.  (See  frontispiece.) 

This  engraving,  with  some  more  or  less  slight  changes,  has  been  reproduced 
in  a  great  number  of  books.  I  also  give  another  cut  of  it,  slightly  different  in 
treatment,  because  the  features  are  clearer  and  more  expressive  than  in  the 
first.  (Cut  No.  2.) 

The  most  important  copy  of  the  Jovian  portrait  is  undoubtedly  that  in  the 
UfSzi  Gallery,  Florence.  It  has  been  there,  as  I  stated  above,  prior  to  the  year 
1568,  and  was  probably  painted  by  1'Altissimo.  But  whoever  the  painter  be 


2. — THE   JOVITTS    PORTRAIT. 


8  THE  COLUMBUS  GALLERY. 

who  executed  this  copy  lie  was  not  a  faithful  copyist.  He  deliberately  tried 
to  soften  the  harsh  features  of  the  weather-beaten  mariner,  and  made  the 
expression  milder,  representing  the  face  as  fuller  and  the  lineaments  less 

prominent,  but  in  so  doing  he 
took  away  the  energy  and 
vigor,  and  the  expression  of 
decision  which  is  so  remarkable 
in  Jovius'  book.  The  painter 
who  made  the  Jefferson  copy 
tried  to  soften  it  still  more,  and 
his  picture  has  no  expression 
at  all. 

Cut  No.  3  is  a  copy  of  the 
portrait  in  the  Uffizi  Gallery. 
It  was  certainly  there  before 
1567,  and  probably  since  1552  ; 
therefore  it  is  the  oldest  per 
fectly-authenticated  picture  of 
Columbus. 

Many  copies  in  oil  have 
been  taken  from  this  one. 
Among  them  that  owned  by 
Jefferson,  and  now  in  the 
Library  of  the  Massachusetts 
Historical  Society,  is  very  well 
known.  It  has  also  been  copied 
by  all  kinds  of  processes.  1  have  in  my  possession  over  twenty  copies  of 
this  picture.  One  is  a  photograph  directly  from  the  one  at  Florence.  All 
are  widely  different,  and  are  a  good  proof  of  the  little  reliance  to  be  placed 
upon  copies. 

The  engraving  in  the  Jovius  book  and  the  Florence  portrait  may  be 
considered  as  the  originals  of  about  all  the  pictures  of  any  importance. 
Artists  have  introduced  sundry  variations  in  them ;  some  deliberately,  to 
make  people  believe  they  were  originals  or  copies  from  unknown  originals, 
some  from  a  want  of  skill,  but  in  the  greater  part  of  them  it  is  easy  to  detect 
that  they  all  represent  one  single  type — that  of  Jovius. 


3. — THE  FLORENCE  PORTRAIT. 


THE   COLUMBUS   GALLERY. 


2.  THE  YANEZ  PORTRAIT, 

PRETENDED  BY  MANY  TO  BE  THE  ORIGINAL    PICTURE   IN    THE    JOVIUS    GALLERY. 

This  picture  is  of  the  highest  importance,  and  deserves,  therefore,  to  be 
carefully  considered. 

In  the  year  1763,  the  Spanish  Government  bought  from  Mr.  Yanez,  a 
resident  of  Granada,  a  set  of  four  beautiful  though  somewhat  dilapidated 
portraits,  representing  Columbus,  Cortes,  Quevedo  and  Lope  de  Vega.  Judg 
ing  from  appearances  all  were  painted  by  the  same  hand;  and  those  of  Cortes 
Quevedo  and  Lope  are  excellent  likenesses.  This  precludes  all  idea  that  the 
Columbus  portrait  could  have  been  taken  from  life,  as  Cortes  was  almost  a 
boy  when  Columbus  died,  and  Quevedo  and  Lope  were  born  almost  half  a 
century  after  his  death. 

This  portrait  remained  for  long  years  in  a  corner  of  the  Royal  (now 
National)  Library,  and  until  the  time  of  Navarrete,  about  the  beginning  of 
this  century,  nobody  paid  any  attention  to  it ;  but  Navarrete,  after  a  careful 
examination,  attached  great  im 
portance  to  this  picture  and  al 
ways  showed  a  great  predilection 
for  it. 

Carderera  says:   "The  picture 
is    two   feet  high,    painted   on   a 
poplar -wood     board    (chopo),    a 
wood  which  was   never   used  by 
the  Spanish  artists  of  that  time, 
though   it   was   much   employed 
by   the  Italians.     It  is  the  same 
size   as   the   Jovian   picture,  and 
has     the     same     epigraph ;     the  ft 
painter,  besides,  was  a  mannerist 
and  wielded  a  weak  brush.     The 
fur  robe,  close-fitting  and  crossed 
in  the  front,  differs  widely  from 
that  in  all  known  pictures;  but  a    4~THE  YA?JEZ  PORTRAIT,  AS  PURCHASED. 
scrupulous  examination  has  convinced  me  that  it  is  recent,  and  the  work  of 
a  modern  restorer.     It  looks   like   an   alteration  made   a  few  years  ago   by 
inexpert  hands." 

In  Cut  No.  4  I  present  this  picture  as  it  appeared  before  1877.     I  will  only 


10 


THE  COLUMBUS  GALLERY. 


add  that  Carderera  considers  it  an  old  copy  of  the  Jovian  picture,  and  as  the 
oldest  portrait  of  Columbus  existing  in  Spain.  He  believes  it  was  painted  in 
Italy  in  the  sixteenth  century  by  some  artist  of  the  Florentine  school. 

On  petition  of  Mr.  Carderera  and  other  artists,  who  made  an  interesting 


5 — THE  YANEZ   PORTRAIT,    AS   IT  NOW  APPEARS. 

report  about  this  picture,  it  was  decided  to  try  to  discover  if,  under  the 
clumsy  brush  marks  of  the  modern  restorer,  the  original  lines  could  be  found; 
and  never  was  an  operation  of  this  kind  performed  with  greater  success. 


THE  COLUMBUS  GALLERY.  11 

Following  the  instructions  of  Carderera,  and  under  the  direction  of  the  distin 
guished  Librarian  of  the  National  Library,  the  able  artist,  Mr.  Salvador 
Martinez  Cubells,  undertook  this  delicate  task.  The  first  order  received  by 
him  was  simply  "to  make  an  examination,  and  if  from  it  it  was  found  with 
certainty  that  the  original  had  received  arbitrary  touches  of  the  brush 
defacing  it,  to  re-establish,  as  far  as  possible,  all  that  had  disappeared  in 
the  drawing  and  in  the  coloring."  Mr.  Cubells  began  at  the  top  of  the 
picture,  and  saw  immediately  that  the  legend  had  been  changed,  and  that 
where  he  found  "CRISTOF  COLUMBUS,  NORI  (sic)  ORBIS  INVENTOR," 
the  old  epigraph  read,  "COLUMBUS  LYGUR.  NOVI  ORBIS  REPTOR." 
In  view  of  this,  he  continued  cleaning  off  all  the  traces  of  the  restoration,  and 
under  the  old  picture  he  found  a  new  one  full  of  life  and  vigor,  which  has  all 
the  characteristics  of  Columbus  and  bears  an  extraordinary  resemblance  to 
the  Jovian  type.  This  was  beautifully  engraved  by  Jose  Maria  Galvan,  and 
from  that  engraving  is  taken  the  cut  which  I  reproduce.  (Cut  No.  5.) 

The  picture  had  been  examined,  after  its  resuscitation,  by  a  great  number 
of  artists  and  experts,  who  are  all  of  opinion  that  it  does  not  belong  to  the 
Spanish  School,  as  the  style  and  the  coloring  are  that  of  the  Florentine — that 
of  the  Altissimo  ;  that  it  may  have  been  painted  by  some  one  of  the  disciples 
of  the  Bronzino  ;  and  that  there  is  no  doubt  that  it  was  painted  in  Italy  in  the 

sixteenth  century. 

Mr.   Resell  adds:    "It  is  useless  to  state  more  reasons  in  favor  of  the 

authenticity  of  this  portrait,  which,  after  having  been  cleaned,  gives  evidence 

that  it  is  one  of  the  oldest  known,  and  which  by  its  material,  form,  features, 

dress  and   other  conditions,   offers    greater  proof   of  genuineness  than  any 

other  of  those  found  in  our  private  galleries." 

A  comparison  of  the  picture  in  its  first  and  second  states  will  show  at  a 

glance  the  wide  difference  between  them  and  the  clumsiness  of  the  dauber 

who  pretended  to  restore  it. 

Mr.  Rios    claims   that  this  is   the  original  Jovius  picture,  but  I  do  not 

consider  his  reasons  of  sufficient  weight  to  disprove  the  fact  that  the  four 

pictures  purchased  together  appear  to  be  from  the  same  hand,  which  shows 

that  they  could  not  have  been  painted  prior  to  the  last  years  of  the  sixteenth 

century. 

In  this  picture  the  hair  is  shorter  than  in  the  portrait  at  Florence  and  in 

the  Capriolo  cut,  but  is  similar  to  the  cut  in  Jovius'  book. 

It  is  a  curious  fact  that  not  a  portrait  of  Columbus  is  found  in  any  of  the 

catalogues  of  the  collections  of  the  Kings  of  Spain,  from  Philip  II.  to  Philip  V. 
This  Yanez  portrait,  as  it  now  stands,  is  perhaps  the  only  one  in  which  are 


THE  COLUMBUS  GALLERY. 


presented  complete  all  the  characteristics  of  Columbus,  as  described  by  those 
who  knew  him  personally.     It  is  to  be  regretted  that  it  was  not  painted  by  a 


6 — THE  COGOLETTO  PORTRAIT. 

first-rate  artist,  and  that  it  is  not  possible  to  obtain  its  full  history  before  it 
was  bought  for  the  Royal  Library. 

General  Fairchild  presented  a  copy  of  this  portrait  to  the  Historical 
Society  of  Wisconsin,  a  few  years  ago. 

Cogoletto  is  a  small  village  fifteen  miles  from  Genoa,  which  claims  to  be 


THE  COLUMBUS  GALLERY. 


13 


the  birthplace   of  Christopher  Columbus      A  tablet  has  been  placed  in  an 
old  house  in  one  of  the  principal  streets  in  commemoration  of  this  dubious 


7 — THE   DE    ORCHI    PORTRAIT. 

fact.  Nevertheless,  the  very  room  and  the  corner  in  which  the  Discoverer 
was  born  are  shown  to  all  visitors  who  are  willing  to  spend  a  small  sum  for  the 
privilege  of  admission.  In  this  house  there  is  also  a  small  portrait  of 


14  THE  COLUMBUS  GALLERY. 

Columbus  which  is  asserted  to  be  of  great  antiquity,  but  evidently  it  is  only  a 
copy  from  the  Jovius. 

But  there  is  another  picture  in  the  Council  Hall  of  the  village  which  is 
really  deeply  interesting.  Its  antiquity  has  been  almost  proven  by  Isnardi 
in  his  work,  Sulle  Patria  de  Colombo,  who  says  that  its  history  can  be 
traced  for  over  three  hundred  years  ;  and  some  have  gone  so  far  as  to.  pretend 
that  it  is  the  original  and  now  lost  portrait  of  the  Jovian  Gallery.  A  single 
glance  at  it  will  show  its  striking  likeness  to  the  Altissimo,  to  the  de  Orchi 
and  the  Yanez  portraits,  and  to  all  those  emanating  from  the  Jovian  type. 
(See  Cut  No.  6.)  It  even  has  the  same  inscription,  thus  showing  their 
common  origin.  The  picture  is  in  bad  condition,  and  does  not  appear  to  be 
the  work  of  a  master-hand. 

There  is  a  picture  at  Cuccaro,  in  the  house  of  Fidele  Guglielmo  Colombo, 
which  has  been  preserved  for  long  years  by  the  branch  of  the  Colombo  family 
residing  in  this  place.  Cuccaro  also  claims  to  be  the  birthplace  of  Columbus, 
and  the  family  asserts  in  addition  that  this  is  the  original  Jovius  portrait,  but 
according  to  experts  it  is  only  a  poor  copy  of  it.  oSTapione  accepted  this 
picture  as  genuine ;  Cancellieri  was  of  the  same  opinion,  and  copied  and 
engraved  it  in  his  work. 

Feuillet  de  Conches  says  that  there  is  another  portrait  in  the  Castle  of 
Cuccaro,  and  that  this  is  only  a  copy  of  the  Florence  portrait. 

Another  picture  which,  not  only  on  account  of  its  intrinsic  artistic  merit, 
but  also  because  the  owner  pretends  that  it  is  the  original  Jovian  portrait,  is 
deserving  of  an  extended  notice;  I  refer  to  the  one  belonging  to  Count  de 
Orchi,  which  is  shown  in  Cut  No.  7. 

A  slight  examination  will  show  that  this  picture  and  the  one  in  the  Uffizi 
Galley  of  Florence  have  undoubtedly  a  common  origin.  The  following  data 
about  the  history  of  this  picture  I  owe  to  my  distinguished  friend  and  relative, 
Mr.  Jose  S.  Jorrin,  of  Havana,  who  has  written  many  able  essays  on  Columbus, 
but,  unfortunately  for  Cuban  literature,  has  not  yet  published  his  very 
complete  life  of  the  great  Admiral,  to  which  he  has  devoted  many  years  of  his 
useful  life. 

Mr.  Jorrin,  in  one  of  his  trips  to  Italy,  became  acquainted  with  Count 
Giovanni  Giovio,  the  only  member  of  the  family  of  the  famous  Bishop  of 
Nocera  who  bears  that  historical  name,  and  from  a  long  correspondence  which 
was  carried  on  between  them,  from  March  7th,  1879,  to  April  6th,  1880,  he 
obtained  the  following  facts  : 

"Many  of  the  pictures  of  the  said  Jovian  Museum  remain  yet  at  Como,  in 
the  old  home  of  the  founder,  which  is  still  called  JEdes  Jovis. 


THE  COLUMBUS  GALLERY.  15 

"The  collection  was  divided,  a  long  time  ago,  between  the  two  branches  of 
the  family  which  were  the  principal  heirs,  one  taking  the  pictures  of  men 
illustrious  in  arms,  the  other  that  of  men  illustrious  in  letters. 

"The  first  branch  is  represented  at  present  by  the  Marquis  Giorgio 
Raimondi,  the  noble  family  de  Orchi  and  Mr.  Vietro  Novelli ;  the  second  by 
Count  Francisco  and  three  nieces. 

"The  family  de  Orchi  sold  to  Prince  Jerome  Napoleon  the  portrait  of 
Cosmo  di  Medici,  painted  by  Bronzino,  and  it  is  the  present  owner  of  that  of 
Columbus.  On  the  upper  part  there  is  an  inscription  in  two  lines, 
'COLUMBUS  LYGUR.,  NOV.  ORBIS  REPTOR,'  but  its  bad  condition 
prevented  a  photograph  being  taken  from  it ;  therefore  Count  Giovanni  Giovio 
requested  the  Milanese  artist,  Nessi,  to  make  a  very  faithful  and  exact 
reproduction  of  it  in  crayon  one-half  the  actual  size.  This  drawing  was 
photographed,  and  Mr.  Jorrin  obtained  some  copies  of  it." 

Dr.  Alessandro  de  Orchi  is  the  present  owner  of  this  picture,  which 
is  not  signed.  Some  attribute  it  to  Bartolomeo  Suardi  and  others  to  Sebastian 
del  Piombo.  If  it  was  painted  by  Piombo  it  could  not  have  been  taken  from 
life,  as  this  artist  was  born  in  1485,  and  therefore  was  only  twenty-one  years  of 
age  at  the  date  of  the  death  of  Columbus  in  1506,  and  he  never  left  Italy 
until  1510. 

Bartolomeo  Suardi  (II  Bramantino)  reached  the  zenith  of  his  fame  at  the 
end  of  the  fifteenth  century,  and  died  in  1530 ;  but  there  is  no  record  of  his 
having  ever  been  in  Spain,  although  we  have  very  full  accounts  of  his  life. 

The  picture  may  be  from  the  brash  of  one  of  these  painters,  or  from  that 
of  any  other   distinguished   artist,  who,  perhaps,  copied  it  from  an  original 
Spanish  painting,  but  its  likeness  to  the  Jovian  cut  and  to  the  copy  in  the 
Uffizi  Gallery  is  very  remarkable,  and  the  best  judges  ascribe  it  to  a  master 
hand. 

The  distinguished  Americanist,  Mr.  Clement  Markham,  considers  this 
picture  as  the  only  authentic  portrait  of  Columbus  now  in  existence. 


If) 


THE  COLUMBUS  GALLERY. 


I  will  now  proceed  to  give  a  cursory  description  of  the  most  important 
portraits  based  on  the  Jovian  type,  which  are,  the  Belvedere,  the  Cancellieri, 
Crispin  de  Pas,  Borghese,  Malpica,  Altamira,  Villafranca  and  Talleyrand. 

Another  well-known  copy  of  the  Jovius  picture  is  the  Belvedere.  It  was 
painted  in  1579,  by  order  of  Ferdinand  I.  of  Austria,  and  in  1610  it  became 


8 — THE  BELVEDERE  POETRAIT. 

the  property  of  his  son,  Archduke  Ferdinand,  Count  of  Tyrol,  who  placed  it 
in  his  castle  of  Ambras,  near  Innspruck,  where  it  remained  up  to  1805,  when 
it  was  taken  to  Vienna  and  placed  in  the  Belvedere  Gallery,  where  it  can  still 
be  seen. 

It  is  a  beautiful,  small  miniature  in  oil,  painted  on  wood,  but  the  name  of 
the  eminent  artist  is  unfortunately  unknown.  There  is  an  engraving  of  it  in 
Frankl.,  Christoforo  Colombo,  a  German  poem,  published  at  Stuttgart  in 


THE  COLUMBUS  GALLERY.  17 

1836.     My  cut  No.  8  is  taken  from  a  lithograph,  for  which  I  am  indebted  to 
the  kindness  of  ex-Chief  Justice  C.  P.  Daly. 

Francesco  de  Cancellieri  published  a  book  at  Rome,  in  1809,  with  two  title 
pages,  the  second  of  which  reads,  Notizie  Storiche  e  Bibliographiche  di 
CJiristoforo  Colombo  di  Cuccaro  nel  Mon- 
ferrato,  which  is  full  of  curious  and  inter 
esting  references  to  Columbus,  who,  as  he 
claims,  was  born  at  Cuccaro. 

On   this   title  page   there   is   a  beau-    £J 
tiful  copper  medallion,  which  Cancellieri 
says  (p.    180}    is    taken   from    an 
picture   belonging    to  Fedele  Gruglielmo 
Colombo  of  Cuccaro,   and  engraved   by 
Giuseppe  Colendo  (although  it  is  signed 
Jean  Petrini    sculpsU},   and   which   he 
prefers    to  any  other,  because  "it   must 
be  the  most  faithful   and   correct   like- 

.,    i  f       ,  .  9 — THE   CANCELLIERI    ENGRAVING. 

ness,  since  it  has  been  lor  long  years  in 

the  possession  of   the   relatives  of  Columbus."     The  engraving  is  so  small 

(Cut  No.  9)  that  it  is  difficult  to  make  much  out  of  it ;  yet,  at  first  sight,  it 

appears  to  be  a  somewhat  softened  reproduction  of  the  Capriolo  engraving. 

It  also  looks  very  much  like  the  one  in  the  National  Library  and  the  Yanez 

portrait. 

Carderera  valued  this  little  medallion  very  much  on  account  of  its 
artistic  merit,  but,  as  Cancellieri  says,  it  is  only  a  copy  from  the  portrait 
of  Cuccaro,  which  is  taken  from  the  portrait  at  the  Jovian  Gallery,  and, 
therefore,  has  no  claim  to  originality. 

In  a  work  entitled  Effigies  Regum  et  Principum  quorum  Vis  ac 
Potentia  in  Re  Nauticd  sen  Marina,  prce  cceteris  Spectabilis  est,  which  was 
published  at  Cologne  in  1598,  is  the  beautiful  portrait  of  Columbus, 
reproduced  in  cut  10,  and  for  which  I  am  indebted  to  the  kindness  of  Mr.  W. 
C.  Curtis. 

It  is  the  work  of  the  famous  engraver,  Crispin  de  Pas  or  de  Passe.  It  is 
undoubtedly  taken  from  Jovius,  but  is  a  far  more  artistic  work  than  the  Jovius 
or  the  Capriolo,  and  has  greater  deviations  from  the  type.  The  attire  is  that  of 
a  Franciscan  monk  with  the  cowl,  and  a  gold  chain  around  the  neck,  and  it 
holds  a  sextant  in  the  left  hand.  The  nose  has  been  greatly  changed,  being 
no  longer  of  the  aquiline  type;  the  hair  is  short  and  curled  ;  but  the  features 
generally  are  those  of  the  Jovius. 


18 


THE  COLUMBUS  GALLERY. 


Carderera  strongly  criticizes  the  engraver  who  so  arbitrarily  deviated  from 
the  well-known  type. 

The  chain  is  the  one  given  to  Columbus  by  the  Cacique  Ouacanagari  in 
Hispaniola,  and  to  which  Bernaldez  refers  in  his  history  of  the  Catholic 
Kings. 

In  the  Borghese  Gallery  there  is  a  pretended  portrait  of  Columbus,  which 
it  is  claimed  was  painted  in  1519.  This  painting  is  nothing  more  than  a 

very  unfaithful  copy  of  the 
Jovius,  and  the  date  at  which 
it  was  painted  is  not  certainly 
known,  but  it  is  well-estab 
lished  that  it  is  very  old,  and 
though  there  is  no  record  of 
the  name  of  the  artist,  it  is 
undoubtedly  the  work  of  a 
master-hand. 

According  to  Carderera, 
this  is  a  copy  painted  by 
order  of  Prince  Aldobran- 
dini,  and  was  for  many  years 
the  ornament  of  his  magnifi 
cent  palace  in  Rome. 

Some  critics  pretend  that 
this  picture  is  simply  a  re 
presentation  of  the  Saviour 
which  has  been  copied  for  the 
purpose  of  passing  it  off  as 
a  portrait  of  Columbus,  yet 
the  reputation  of  the  gallery 
where  it  has  been  for  so  long 
does  not  permit  of  such  a 
supposition. 

In  the  gallery  of  the  Marquis  de  Malpica  at  Madrid,  where  it  was  examined 
by  Carderera  and  Rosell  at  their  leisure,  there  was  many  years  ago  a 
picture  of  the  Admiral.  It  has  strangely  disappeared,  and  it  has  been 
impossible  to  discover  the  slightest  trace  of  its  present  whereabouts. 

Mr.  Carderera  calls  it  a  somewhat  imperfect  copy  of  the  one  in  the  Uffizi 
Gallery,  with  some  minor  alterations.  It  is  a  canvas  two  feet  in  height, 
presenting  only  the  bust  of  Columbus,  wearing  a  vest,  over  which  is  an 


enttif  au^m  Gertua  clara.  Columbus 
^promts'  in  (drum 


*  cur^tt;  rioslrv  Jittctrnus 

dca?x.i  ,>i'f./peria  jrarirura 
i.  tuIenJitihinf  ulurplura  ft  ma.iar~a  re 
' 


10 — THE   CRISPIN   DE   PAS   ENGRAVING. 


THE  COLUMBUS  GALLERY.  19 

ample  dark  green  mantle.  On  the  top  is  the  epigraph,  "  CHRISTOFORUS 
LIGUR.,  NOVI  ORBIS  REPERTOR."  Carderera  believes  the  picture  to  be 
about  three  centuries  old,  and  this  is  also  the  opinion  of  Rosell. 

The  Marquis  of  Villafranca,  in  1601,  collected  a  gallery  of  portraits  of 
illustrious  persons;  and  from  a  curious  letter  quoted  by  Carderera,  I  find  that 
his  agent  in  Rome  wrote  him  "that  the  pictures  of  the  Emperors  are  all 
finished,  one  hundred  and  fifty-seven  in  number,  and  that  those  of  the 
illustrious  men  are  completed  with  the  exception  of  fifty,  and  that  there  will 
be  in  all  three  hundred  and  twenty  pictures."  Carderera  says  that  he 
believes  that  all  these  pictures  were  copied  from  those  that  he  had  seen  in 
Rome  in  the  Borghese  Palace,  which  were  copied  from  those  in  the  Jovian 
Museum  ;  therefore,  the  portrait  of  Columbus  in  this  gallery  was  simply  a 
copy  of  the  Jovius. 

The  picture  in  the  gallery  of  the  Count  of  Altamira  was  also  a  copy  from 
that  in  the  Uffizi  Gallery.  The  collections  in  the  palaces  of  Altamira  and 
Villafranca  have  been  dispersed,  and  the  present  whereabouts  of  these 
portraits  of  Columbus  is  unknown. 

The  Duke  de  Talleyrand,  Sagan  and  Valengay  has  sent  to  the  French 
Geographical  Society  at  Paris  a  photographic  copy  of  a  pretended  picture  of 
Columbus.  This  picture  belonged  to  the  gallery  of  the  famous  diplomatist, 
Prince  C.  M.  Talleyrand,  and  is  now  at  the  Chateau  de  Valengay,  Departement 
de  L'Indre,  France.  The  painting  is  very  old  and  bears  the  following 
inscription  : 

"H^EC  EST  EFFIGIES  LIGURI  MIRANDI  COLOMBI, 
ANTIPODUM  PRIMUS  RATE  QU1  PENETRAVIT  IN  ORBEM," 

and  the  name  of  Sebastian  del  Piombo  without  any  date.  I  have  already 
given  a  notice  of  Piombo  in  the  description  of  the  de  Orchi  portrait. 

Count  Louis  de  Turenne,  in  a  report  to  the  French  Academy,  mentions 
that  the  picture  is  not  only  that  of  Columbus,  painted  by  Sebastian  del 
Piombo,  but  also  that  it  is  taken  from  life.  Following  the  example  of 
Roselly  des  Lorgues,  he  does  not  take  the  trouble  of  explaining  from  whence 
he  derived  his  information. 

I  have  not  seen  any  engraving  of  it,  but,  from  the  descriptions  which  I 
have  read,  I  suppose  this  portrait  is  only  an  old  copy  of  the  Altissimo,  with 
some  slight  alterations. 


20' 


THE  COLUMBUS  GALLERY. 


THE  CAPRIOLO  PORTRAIT. 

The  engraving  by  Aliprando  Capriolo  was  first  published  in  the  work, 
Cento  Capitani  Illustri,  printed  at  Rome,  in  1596  ;  a  second  edition  appeared 
in  1606,  with  additions  by  F.  Tomasini. 

The  artistic  work  is  greatly  superior  to  that  of  Jovius,  but  there  is  no 
doubt  that  the  picture  in  the  Jovian  Gallery  was  the  original  of  the  Capriolo, 

although  many  variations  were  intro 
duced  in  it,  owing  in  part  to  the  faulty 
style  of  Capriolo,  who  always  wanted 
to  represent  all  his  heroes  as  good- 
looking,  and,  with  that  end  in  view, 
purposely  softened  the  vigorous  linea 
ments,  depriving  his  pictures  of  energy 
and  life. 

The  portrait  is  a  bust,  with  long 
lank  hair,  carefully  combed  at  the 
sides  and  covering  the  ears.  The 


tabard  is  changed  to  a  Roman  toga, 
crossed  over  the  shoulders,  and  in  a 
corner  are  seen  the  arms  of  Columbus. 
Carderera  considered  the  engraving  as 
one  of  the  most  important  portraits  of 
Columbus,  and  was  of  opinion  that  this  cut  and  that  of  Jovius  were  the  most 
fitting  to  be  used  in  erecting  any  iconographic  monument  to  Columbus. 

The  illustrious  Spanish  writer  Martin  Fernandez  de  Navarrete  also  held 
this  engraving  in  high  esteem,  and  reproduced  it  in  the  French  edition  of  one 
of  his  works. 

The  picture  attributed  to  Rincon  also  bears  an  extraordinary  resemblance 
to  this  Capriolo  cut,  which  proves  their  common  origin.  • 

Carderera  also  states  that  a  copy  in  oil  of  the  Capriolo  portrait  has  long 
been  in  the  Uffizi  Gallery. 

The  portrait  in  the  Naval  Museum  at  Madrid  is  nothing  more  than  a 
splendid  reproduction  in  oil  of  the  Capriolo  engraving  and  of  other  historical 
types.  Mr.  Curtis,  in  his  able  article  already  quoted,  says:  "It  is  asserted 
to  be  a  genuine  portrait  painted  in  1504  or  1505,  in  Seville,  upon  the  return 
of  Columbus  from  his  fourth  and  last  voyage,  and  shortly  before  his  death  ;" 


11 — THE  OA.PKIOLO  ENGRAVING. 


THE  COLUMBUS  GALLERY, 


21 


and,  with  his  usual  good  judgment,  he  adds,  "but  there  is  no  evidence  to 
sustain  the  claim."     I  will   say  more:  it  is  positively  known  that    it  was 


12 — PORTRAIT   IN  THE  NAVAL   MUSEUM,    MADRID. 

painted  by  order  of  the  government,  in  1838,  by  a  French  artist  named  Charles 
Legrand,  and  only  in  French  and  American  works  have  I  seen  the  assertion  to 
which  Mr.  Curtis  refers. 


22 


THE  COLUMBUS  GALLERY. 


Carderera  says  :  "  We  can  Imt  praise  the  judgment  of  the  artist  who,  when 
called  upon  a  few  years  ago  to  paint  a  portrait  of  Columbus  for  the  Naval 
Museum,  took  as  a  model  Capriole's  engraving.  We  disapprove  of  the  change 


13 — THE   CEVASCO   PORTRAIT. 

that  the  painter  made  in  the  dress,  in  copying  the  velvet  cloak  of  the  portrait 
in  the  National  Library/' 

The  picture  in  question  is  really  beautiful ;  the  expression  of  melancholy, 
benevolence  and  energy,  and  its  exact  agreement  with  the  known  traits  of  the 
physiognomy  of  Columbus,  have  rendered  this  portrait  a  universal  favorite, 


THE    COLUMBUS   GALLERY. 

and  it  is,  as  Mr.  Curtis  says,   "one  of  the  most  widely  known  and  generally 
accepted  portraits  of  Columbus." 

Many  writers  claim  that  it  is  a  copy  of  the  Jovius  made  in  the  six 
teenth  century — some  going  so  far  as  to  assert  that  it  is  the  original  itself. 
Others  attribute  it  to  Maella,  but  there  is  another  portrait  of  Columbus  from 
the  brush  of  this  able  artist,  and  it  differs  so  widely  from  the  one  in  the 
Naval  Museum  that  it  is  clearly  seen  that  they  cannot  be  the  work  of  the 
same  hand. 

There  is  a  beautiful  copy  of  this  portrait  in  the  Geographical  Society  of 
New  York,  presented  years  ago  by  its  enthusiastic  President,  ex-Chief-Justice 
Charles  P.  Daly. 

In  the  Red  Room  of  the  Council  Hall  at  Genoa  there  is  an  oil  painting  of 
Columbus,  which  was  presented,  in  1862,  to  the  Municipality  by  the  sculptor, 
G.  B.  Cevasco.     I  have  not 
been    able    to    obtain    any 
details   regarding    the    his 
tory  of  this  painting,  which 
is  undoubtedly  modern,  but 
I  have  secured  a  copy  of  it, 
which   I   reproduce   in   cut 
No.  13. 

I  believe  it  is  an  imita 
tion  of  the  picture  in  the 
Naval  Museum  with  some 
variations,  taken,  perhaps, 
from  Capriolo.  The  face  is 
full  of  energy  and  intelli 
gence,  and  the  dress  is  the 
conventional  one.  The  hair 
is  long  and  flowing,  and  is 
almost  covered  by  a  barret- 
cap.  The  artist  was  not  a 
common  one,  and  has  fol 
lowed  the  well-known  des 
criptions  of  the  Admiral. 

In     the    splendid    work  14— THE  CANTU  ENGRAVING, 

entitled     Iconographie    di 

Uominl  Sommi  nelle  Scienze  e  nelle  Arti  Italiani,  Naples,  1854,  there  is  a 
beautiful  engraving  of  a  portrait  in  oil  by  Stuppi.     I  believe  Mr.  Curtis  was 


\ 


24  THE  COLUMBUS  GALLERY. 

perfectly  right  in  saying  that  "it  is  undoubtedly  a  copy  of  the  Capriolo 
engraving,"  but  I  may  add  that  the  artist  did  not  improve  on  his  model  by 
softening  the  austere  lineaments  of  the  Admiral. 


Cut  No.  14  is  the  reproduction  of  a  steel  engraving  in  Cesar  Cantu, 
Universal  History,  the  Spanish  translation  of  which  was  published  at  Madrid 
in  1856. 

I  believe  that  the  artist  followed  the  Capriolo,  but  he  introduced  so  many 
changes  in  it,  that  although  it  agrees  with  the  general  characteristics  of 
Columbus,  yet  there  is  a  material  difference  between  it  and  the  Jovius  and 
Capriolo  types.  The  artist  has  greatly  idealized  the  rough  sketches  of  Jovius 
and  Capriolo,  but  at  the  same  time  has  succeeded  in  presenting  something 
that  may  be  accepted  as  a  portrait  of  the  Navigator. 


III.     THE  ANTONIO  DEL  RINCON   PORTRAIT. 

This  would  be  the  most  important  portrait  of  Columbus,  if  its  authenticity 
could  be  established.  It  tallies  exactly  with  the  descriptions  of  the  Admiral, 
and  looks  very  much  like  the  Jovian  portrait.  It  is  very  old,  and  has  been 
reproduced  numberless  times.  From  time  immemorial  it  has  been  in  the 
private  library  of  the  Kings  of  Spain,  and  it  is  said  traditionally  that  it  was 
painted  by  Antonio  del  Rincon  upon  the  return  of  Columbus  from  his  second 
voyage. 

Unfortunately,  there  is  not  a  scintilla  of  evidence  as  to  its  authenticity.  It 
is  not  even  known  when  or  how  it  became  the  property  of  the  Crown,  as 
neither  Palomino,  Pacheco,  nor  Cean  Bermudez  mentions  this  portrait  among 
the  known  works  of  this  artist. 

Notwithstanding  this  fact  the  picture  is  very  old,  and  was  evidently  the 
work  of  a  great  artist.  Copies  of  it  were  taken  and  published  before  1600, 
and  its  general  characteristics  confirm  the  belief  that  it  is  an  original  Rincon^ 
or,  if  not,  it  is  at  least  the  work  of  one  of  his  disciples. 

There  are  many  reasons  advanced  to  show  that  Rincon  painted  a  picture 
of  Columbus.  Rincon,  who  was  the  true  father  of  the  Spanish  School  of 
Painting,  was  born  at  Guadalajara  in  1446,  and  died  at  Seville  in  1500.  He 


THE  COLUMBUS  GALLERY. 


25 


was  for  years  court  painter  to  Ferdinand  and  Isabella,  whose  portraits  he 
painted;  and  they  were  still  in  the  Church  of  San  Juan  de  los  Reyes,  at 
Toledo,  when  Palomino  wrote 
his  Historia  de  la  Pintura  en 
Espafia,  Vol.  //.,  p.  235. 
He  also  painted  some  portraits 
of  Princes,  and  that  of  Anto 
nio  de  N  ebri ja.  He  resided  at 
court  from  1493  up  to  his 
death  in  1500,  and  must  have 
become  acquainted  with  Col 
umbus  upon  his  return  from 
his  first  voyage.  It  is  there 
fore  almost  incredible  that  he 
should  not  have  painted  a 
portrait  of  the  Discoverer, 
either  by  command  of  the 
Kings  or  by  request  of  the 
Admiral  himself,  who  was  a 
very  vain-glorious  man,  and 
then  in  the  zenith  of  his  fame. 
Furthermore  the  portrait, 
though  exceedingly  old,  has 
such  a  spirited  air,  and  such 
a  vigorous  expression,  that  it 
looks  exactly  as  though  it  were  taken  directly  from  life.  Even  the  serene 
expression  of  the  face  appears  to  indicate  that  this  portrait  was  taken  during 
the  few  months  in  which  the  Admiral  led  a  happy  life.  (Cut  No.  15.) 

There  were  at  one  time  in  Spain  many  pictures  by  this  artist,  all  belonging 
to  the  Crown  ;  but  most  of  them  were  destroyed  in  the  terrible  conflagration 
at  the  royal  residence,  El  Pardo,  in  1608,  together  with  a  large  number  of  the 
works  of  other  early  Spanish  artists.  Yet  I  must  say  that  in  the  catalogue 
of  El  Pardo  there  is  no  mention  of  any  portrait  of  Columbus  by  Rincon,  or 
by  any  other  master ;  and,  besides  that,  there  is  no  mention  of  Columbus  ever 
having  sat  before  the  easel  of  Rincon. 

The  medallion  painted  by  Julio  Romano  has  a  great  resemblance  to  this 
painting.  This  type  was  very  well  known  outside  of  Spain  at  a  very  early 
period,  and  was  reproduced,  with  some  changes,  in  foreign  editions  of  Herrera, 
in  Van  der  Aa,  and  in  many  other  books. 


15 — THE   RINCON   PORTRAIT. 


26 


THE  COLUMBUS  GALLERY. 


Roselly  des  Lorgues  Las  also  accepted  and  published  this  picture  in  his 
"Life  of  Columbus"  and  he  has  in  his  collection  the  portrait  in  oil,  from 
which  he  took  his  engraving,  and  claims  that  his  painting  is  the  original  work 
of  Rincon.  But  the  good  old  Count  has  gone  so  far  in  many  points,  referring 
to  St.  Christopher  Columbus,  that  we  must  not  place  much  faith  in  his  new 
claim.  He  has  also  presented  to  the  astonished  reader  a  portrait  of  Beatrix 
Enriquez,  the  noble  Cordovan  lady,  mother  of  Ferdinand  Columbus.  Where 
did  he  obtain  it  ?  And  what  proof  has  he  of  its  being  genuine  ?  These  are 
idle  questions.  It  is  well  known  that  the  apologist  of  the  "  Bearer  of  the 
Cross"  never  paid  much  attention  to  evidence  of  any  kind.  Yet  I  cannot  but 
approve  his  selection  of  this  portrait  for  his  book,  as  this  is  perhaps  the  only 
plausible  assumption  in  all  his  alleged  discoveries  about  Columbus. 

The  Navarrete  portrait,  as  can  be  seen  at  a  glance,  is  a  copy  of  the  Rincon, 
with,  perhaps,  some  minor  changes  taken  from  the  Capriolo  picture.  The 

artist  has  changed  the  position,  and  the 
Admiral  is  represented  as  looking  to  the 
left.  It  was  published  in  the  Parisian 
edition  of  Navarrete' s  work,  Relation  des 
Quatre  Voyages  de  CJiristopJie  Colomb, 
(1828).  Mr.  Curtis  believes  it  is  taken 
from  the  picture  in  the  Naval  Museum, 
which  it  resembles  in  some  general  traits 
and  in  the  position  of  the  head.  It  bears 
a  curious  note  which  reads  :  "Engraved 
on  stone  by  Pedro  Colon,  Duke  of  Vera- 
guas,  a  descendant  of  the  illustrious  navi 
gator,  and  is  taken  from  an  original  and 
contemporary  portrait  which  once  belong- 


16 — THE  NAVARRETE  PORTRAIT. 


ed  to  his  Catholic  Majesty."  This  shows  with  certainty  that  it  is  a  copy  from 
the  Rincon. 

In  the  splendid  edition  of  the  Codice  Diplomatico  Colombino,  published  by 
Banchero,  in  Genoa,  there  is  a  lithograph  representing  Columbus  which  is 
evidently  taken  from  the  Rincon  portrait,  with  the  exception  of  some  slight 
variations  in  the  shape  of  the  mouth.  I  reproduce  this  picture  not  only  on 
account  of  its  beauty,  but  also  to  show  the  high  esteem  in  which  the  Rincon 
portrait  is  held,  not  only  in  Spain  and  France,  but  in  Italy  as  well.  (Cut 
No.  17.) 

As  the  best  description  I  have  found  of  the  two  portraits  in  the  Museum  of 
Rouen,  France,  is  that  given  by  Mr.  Curtis  in  the  Cosmopolitan  Magazine, 


THE  COLUMBUS  GALLERY.  27 

I  will  take  the  liberty  of  copying  it  verbatim  from  his  article:  'kln  the 
Museum  at  Rouen,  France,  are  two  pictures  of  Columbus,  placed  side  by 
side,  but  as  unlike  as  it  is  possible  for  two  portraits  of  the  same  person 


17— THE  BANCIIERO  PORTRAIT. 

to  be,  and  the  contrast  is  very  amusing.  In  one  the  hair  is  gray  and  thin, 
and  the  flesh  is  pallid.  It  is  a  modern  canvas,  signed  P.  Le  Carpentier,  and 
inscribed,  'COLUMBUS  LIGUR.  NOYI  ORBIS  REPTOR.'  A  note  on  the 
back  says:  'This  portrait  was  copied  in  wax  in  1835  from  the  original 


28  THE  COLUMBUS  GALLERY. 

portrait  of  Sebastian  del  Piombo,  which  formed  a  part  of  the  collection  of  the 
Escurial,  and  which  is  attributed  by  some  to  Antonio  del  Rincon.'  It  is 
evidently  a  copy  of  the  portrait  in  the  Queen's  Library  at  Madrid. 

"  The  other  Rouen  portrait  is  a  sharp  and  vigorous  piece  of  work,  with 
black  hair,  black  eyes,  considerable  color  and  expressive  features.  It  points 
a  finger  to  a  sphere  resting  upon  a  table  with  some  books." 


IV.    THE  JUAN   DE  LA  COSA  PORTRAIT. 

The  famous  chart  of  Juan  de  la  Cosa,  the  pilot  of  Columbus,  is  drawn  on 
parchment  and  bears  an  inscription  which  reads,  "Juan  de  la  Cosa  la  fizo  en 
el  puerto  de  Santa  Maria  en  el  ano  1500"  This  chart,  which  was  first 
described  in  the  most  eulogistic  terms  by  Humboldt,  was  then  the  property  of 
Baron  Walckenaer,  and  is  now  in  the  Naval  Museum  at  Madrid. 

On  one  of  its  sides,  in  the  place  that  would  correspond  to  the  position  of 
Mexico  and  Central  America,  there  is  a  miniature  representing  St.  Christopher 
conveying  the  Infant  Jesus  on  his  back  from  one  continent  to  the  other.  The 
drawing  is  rude,  and  the  features  of  the  Saint  have  not  the  slightest  resem 
blance  to  those  of  Columbus,  as  described  by  his  contemporaries.  There  is  no 
direct  evidence  to  show  that  Juan  de  la  Cosa  ever  intended  to  portray  Colum 
bus  in  this  chart,  yet  I  doubt  not  that  La  Cosa  may  have  tried  to  depict  in  it 
the  allegorical  representation  of  his  chief  (whose  name  signifies  "Christ- 
Bearer")  under  the  figure  of  this  saint  carrying  the  Christ  on  his  shoulders, 
though  St.  Christopher  was  never  considered  as  a  patron  of  navigators ;  and 
that  in  doing  this  he  never  intended  to  present  a  faithful  portrait  of  the 
Admiral.  That  is  entirely  in  accordance  with  the  customs  of  those  times,  as 
can  be  seen  by  the  delineations  of  many  kings  represented  in  the  same  chart, 
none  of  which  are  claimed  to  be  portraits. 

One  of  the  defenders  of  this  picture  is  Roselly  des  Lorgues,  who  considers 
it  symbolical  of  the  discoveries  of  Columbus  and  of  his  purpose  to  extend  the 
Catholic  religion.  Winsor  says  that  some  authors  claim  that  the  picture  of 
Herrera  is  based  on  that  of  Juan  de  la  Cosa.  I  quite  agree  with  him  when  he 
says:  "This  theory  is  hardly  accepted  by  the  critics." 

I  present  to  my  readers  this  picture,  which  is  taken  from  the  new  copy  of 
the  map  of  La  Cosa,  published  at  Madrid,  not  only  as  a  pretended  portrait  of 
Columbus,  but  also  as  a  very  curious  and  interesting  historical  allegory.  In 


THE  COLUMBUS  GALLERY. 


18 — THE  JUAN  DE  LA  COSA  PORTRAIT. 


30  THE  COLUMBUS  GALLERY. 

fact,  though  it  looks  more  like  a  grotesque  Japanese  caricature  than  a  Spanish 
picture  of  the  year  1500,  its  genuineness  is  unquestionable,  arid  it  is  the 
earliest  attempt  known  to  portra}7"  Columbus,  if  such  was  the  intention  of  the 
famous  pilot. 


V.  THE  LOTTO   PORTRAIT. 

This  is  undoubtedly  one  of  the  most  important  portraits  of  Columbus.  It 
is  a  beautiful  work  of  ait,  is  signed  "Laurens  Lotto  F.  1512,"  and  the  most 
distinguished  experts,  as  Bode,  Raineri,  Morelli,  Cavalcasette,  and  others,  are 
of  the  opinion  that  there  is  no  doubt  about  its  being  a  work  of  the  famous 
master.  Therefore  I  will  raise  no  doubt  as  to  its  antiquity  and  authenticity, 
as  coming  from  the  brush  of  Lotto.  But  does  it  represent  Columbus  ?  and,  if 
so,  was  it,  as  is  claimed,  taken  from  life  ? 

Mr.  John  C.  Van  Dyke  has  published  in  the  Century  Magazine  (October 
1892),  an  admirable  article  about  this  now  famous  picture.  In  view  of  its 
comprehensiveness,  fairness  and  sound  reasoning,  I  will  take  the  liberty  of 
quoting  from  it  somewhat  freely. 

The  history  of  this  picture  after  it  was  painted  is  thus  given  in  the  article  : 

"It  is  supposed  to  have  been  painted  for  Domenico  Malipiero,  the 
Venetian  Senator  and  historian,  at  the  instance  of  his  correspondent,  Angel o 
Trevisan  (Trivigiano),  secretary  of  the  Venetian  ambassador  to  Spain,  who  in 
1501  was  in  intimate  communication  with  Christopher  Columbus  at  Granada. 
Malipiero' s  manuscripts  (and  possibly  this  picture)  are  said  to  have  passed  to 
Senator  Francesco  Longo.  The  Gradenigos  were  the  heirs  of  the  Longos,  and 
it  was  from  them  that  the  Cavaliere  Luigi  Rossi,  a  steward  of  the  Duchess  of 
Parma,  purchased  the  picture.  Just  before  Rossi's  death  the  picture  was 
sold  to  a  person  named  Gandolfi,  who  had  it  somewhat  repaired  and  restored. 
The  badly  damaged  head  and  red  cap  of  an  Indian  at  the  right  were  cut  out, 
and  the  picture  was  made  square  instead  of  oblong.  From  Gandolfi  it  passed 
to  Signer  Antonio  della  Rovere,  of  Venice,  in  whose  house  it  was  seen  in  1891, 
by  Captain  Frederick  H.  Mason,  United  States  Consul-General  at  Frankfort- 
on-the-Main,  and  by  him  bought  for  the  World's  Fair  at  Chicago.  The  record 
cannot  be  traced  with  any  certainty  beyond  the  Gradenigos,  and  even  if  it 
could  it  would  prove  no  more  than  what  the  picture  itself  reveals.'' 

To  all  this  I  must  add  that  the  present  owner  of  this  picture  is  Mr.  James 
W.  Ellsworth  of  Chicago,  and  for  this  reason  it  is  often  called  "the  Ellsworth 
picture." 


THE  COLUMBUS  GALLERY. 


31 


I  will  now  describe  this  painting  (cut  No.  19),  and,  as  I  have  never  seen  the 
original,  I  will  make  use  of  another  able  article,  which  I  find  in  the  Progresso 
Italo- Americano  of  this  city,  signed  with  the  initials  "P.  S.,"  the  writer  of 
which  is  also  an  ardent  admirer  of  the  Lotto  portrait. 

The  picture  at  present  is  three  feet  by  two  feet  eight  inches  in  size. 
Originally  it  was  larger,  but  on  account  of  careless  handling  it  was  so  damaged 


19 — THE  LOTTO  (ELLSWORTH)  PORTRAIT. 

that  it  was  found  necessary  to  trim  it  to  its  present  dimensions  about  the 
middle  of  this  century.  The  face  is  turned  to  the  right,  as  can  be  seen  in  the 
cut  (No.  19).  The  head  is  uncovered,  the  hair  white  and  falling  almost  to  the 
shoulders ;  it  is  parted  in  the  middle,  and  the  face  is  clean  shaven.  The 
carnation  is  almost  of  a  bronze  color  ;  and  he  is  clothed  in  a  low-necked  white 


THE  COLUMBUS  GALLERY. 

shirt  without  collar,  with  a  red  or  scarlet  coat,  which  is  almost  concealed  by 
an  ample  mantle,  with  fur  lapels,  somewhat  after  the  fashion  of  the  one 
in  the  Yafiez  portrait,  before  all  the  additions  by  an  inexpert  restorer  were 
removed.  In  the  right  hand  he  holds  a  chart  copied  from  that  by  de 
Ruysch,  in  1508,  and  in  the  left  a  common  nautical  hour-glass,  which 
stands  upon  a  book  labelled  Aristotel,  and  there  are  other  books  on  the  top 
of  a  book-case.  The  background  is  gray,  and  in  the  right  hand  corner  is 
a  window  giving  a  view  of  a  landscape.  It  is  said  that  before  the  picture 
was  trimmed  there  was  the  head  of  an  Indian  in  the  foreground. 

The  map  itself  is  sufficient  evidence  that  the  picture  was  not  taken  from 
life,  as  it  was  first  published  in  1508,  two  years  after  Columbus'  death,  or 
six  or  seven  years  subsequent  to  1501  or  1502,  when  it  is  pretended  that  it  was 
painted.  The  able  defence  of  this  map  by  Mr.  Van  Dyke,  who  maintains  that 
all  the  countries  shown  in  it  were  already  known  to  the  Spaniards,  falls  to  the 
ground  when  we  consider  the  telling  fact  discovered  by  the  keen  eye  of  Mr. 
Harrisse  that  the  artist  has  copied  the  errors  of  longitude  which  are  found  in 
the  de  Ruysch  map. 

I  will  not  deny  the  possibility  that  some  Italian  or  Spanish  artist  (and 
there  were  many  capable  ones  then  in  Spain,  notwithstanding  the  assertion  of 
Mr.  Van  Dyke  to  the  contrary),  may  have  taken  a  picture  of  Columbus  from 
life,  and  that  Lotto  may  have  copied  it,  making,  as  was  very  common,  some 
more  or  less  appropriate  additions.  But  in  any  event,  if  the  Lotto  portrait 
was  ever  intended  to  represent  Columbus,  it  was  not  taken  from  life,  and 
therefore  cannot  be  accepted  as  an  archetype,  as  is  claimed  by  its  defenders. 

I  admit  that  the  picture  bears  a  certain  resemblance  to  that  in  the  NavtJ 
Museum  ;  but  this  is  undoubtedly  modern.  I  also  admit  that  it  has  some  of 
the  well-known  characteristics  of  Columbus,  but  I  cannot  for  a  moment 
agree  with  the  opinion  of  Mr.  Van  Dyke,  when  he  says,  "a  comparison, 
feature  by  feature,  will  show  that  the  Lotto  portrait  tallies  exactly  with  the 
descriptions  that  we  have  of  Columbus. 

I  repeat  that  I  have  never  seen  the  original  picture.  I  have  over  twenty 
copies  of  it,  photographed,  engraved  and  reproduced  by  different  processes, 
and  some  of  them  are  splendid,  but  in  none  of  them  have  I  been  able  to  find 
"the  air  of  authority,"  or  "the  appearance  of  a  nobleman,"  and  find  that  none 
of  them  tally  exactly  with  the  descriptions  in  our  possession  of  the  person  of 
Columbus.  I  will  say  more  :  I  find  the  face  in  the  Lotto  portrait  vulgar  and 
wanting  in  energy,  looking  more  like  that  of  an  old  women  than  of  a  man 
of  the  decided  character,  iron  will,  and  clear  intelligence  of  the  great  Admiral. 
Perhaps  I  may  change  my  opinion  if  I  see  the  original  portrait;  possibly  I  may 


THE  COLUMBUS  GALLERY.  33 

see  all  the  qualities  that  Mr.  Van  Dyke  claims  for  it,  but  the  copies  in  my 
possession,  which,  as  I  have  said,  number  over  twenty,  do  not  give  an  idea  of 
the  Columbus  whose  description  we  now  have. 

I  have  already  given  the  history  of  the  picture  after  it  was  painted.  I  will 
now  present  to  my  readers  the  history  of  how  it  was  painted,  and  will  take  it 
from  Mr.  Curtis'  article  : 

"When  the  discoveries  of  Columbus  became  known  in  Venice,  Dominico 
Pisano  was  sent  as  an  embassador  from  that  republic  to  the  court  of  Spain. 
He  went  chiefly  for  the  purpose  of  obtaining  information  for  the  use  of  the 
merchants  of  Venice  concerning  the  commercial  value,  the  resources  and 
products  of  the  newly  discovered  lands,  and  to  obtain  maps  and  charts  for  the 
benefit  of  Venetian  navigators.  He  had  a  secretary  named  Giovanni  Camerino, 
or  Cietrico,  who  made  it  his  business  to  cultivate  Columbus  and  succeeded  in 
becoming  very  intimate  with  him.  Camerino  obtained  secretly  from  the 
discoverer  a  chart  of  the  new  world  and  sent  it  to  Venice. 

"Pisano  also  forwarded  to  his  government  many  voluminous  reports 
concerning  the  discoveries  of  Columbus,  which  were  based  upon  information 
received  directly  from  the  Admiral  and  his  companions  on  the  voyages.  It  is 
known  also  that  Lorenzo  Lotto  visited  Spain  while  Pisano  was  there  and 
completed  several  important  works  of  art  under  his  patronage.  There  are 
sixteen  examples  from  his  brush  now  in  the  city  of  Madrid,  painted  in 
Granada,  Seville  and  other  places  during  these  years.  While  there  is  no  record 
or  tangible  evidence  that  Columbus  ever  sat  before  his  easel,  it  is  very  probable 
that  he  did  so,  as  just  at  the  time  of  his  visit  the  Venetian  ambassador  was 
cultivating  him  with  the  most  assiduous  attentions  and  hospitality." 

There  is  in  Paris,  a  certain  troublesome  American  lawyer  who  has  almost 
consecrated  his  life  to  the  study  of  early  American  history,  who  entertains  no 
respect  for  fables,  legends,  traditions,  or  old  woman's  tales,  has  no  love  for 
romance  in  history,  and  is  decidedly  opposed  to  all  those  who  are  striving  to 
make  a  delusion  and  a  farce  of  Jii story.  As  soon  as  he  read  the  articles  of 
Mr.  Curtis  and  others,  he  took  up  his  trenchant  pen  and  sent  a  letter  to  the 
editor  of  the  Sun  of  New  York,  from  which  we  quote  the  following  caustic 
paragraphs : 

"It  is  not  true  that  Domenico  Pisani  was  sent  to  Spain  as  an  ambassador 
from  the  Venetian  Republic  when  the  discoveries  of  Columbus  became  known 
in  Venice. 

"It  is  not  true  that  he  went  chiefly  or  at  all  for  the  purpose  of  obtaining 
information  for  the  use  of  the  merchants  of  Venice  concerning  the  commercial 


34  THE  COLUMBUS  GALLERY. 

value,  the  resources  and  products  of  the  newly  discovered  lands,  and  to  obtain 
maps  and  charts  for  the  benefit  of  the  Venetian  navigators. 

"It  is  not  true  that  Pisano  'had  a  secretary  named  Giovanni  Camerino  or 
Cietrico.' 

"It  is  not  true  that  the  said  Camerino,  or  Cietrico,  'obtained  secretly  from 
the  discoverer  a  chart  of  the  New  World.' 

"It  is  not  true  that  '  Pisano  forwarded  to  his  government  many  voluminous 
reports  concerning  the  discoveries  of  Columbus.' 

"It  is  not  true  that  'Lorenzo  Lotto  visited  Spain  while  Pisano  was  there, 
and  completed  several  important  works  of  art  under  his  patronage.' 

"  It  is  not  true  that  '  there  are  sixteen  or  any  examples  from  his  brush  now 
in  the  city  of  Madrid,  painted  in  Granada,  Seville,  and  other  places  during 
these  years.' 

"It  is  not  true  that  'the  history  of  the  canvas  may  be  traced  back  nearly 
three  centuries.' 

"As  to  the  picture  itself,  viewed  at  least  as  a  'portrait  of  Christopher 
Columbus,'  it  is  a  sheer  Italian  fabrication,  which,  like  all  Italian  forgeries, 
particularly  those  of  Bolognese  or  of  Venetian  origin,  proves  too  much." 

"Columbus  is  made  therein  to  hold  a  map.  The  map  is  not,  as  we  should 
have  supposed,  a  map  of  his  maritime  discoveries.  It  is  a  map  of  Brazil, 
which  he  never  discovered,  or  claimed  to  have  discovered,  or  visited  ai  any 
time.  It  is  not  even  a  Spanish  map.1' 

Who  is  right  in  this  question  ?  Let  the  reader  decide  for  himself.  As  for 
myself,  I  regret  to  state  that  however  able  the  presentation  of  the  claims,  by 
Mr.  Curtis,  and  however  powerful  the  defence  of  it  made  by  Mr.  Van  Dyke 
may  be,  and  without  disputing  the  authorship  of  this  beautiful  work  of  art,  I 
feel  inclined  to  repeat,  with  the  scholarly  author  of  so  many  admirable  works 
of  Columbus : 

"  Withal,  it  should  be  stated,  in  justice  to  the  'Lotto  portrait  of  Columbus,' 
that  it  is  neither  better  nor  worse  than  any  and  all  the  other  apocryphal  daubs 
and  portraits  which  are  now  being  collected  in  Italy,  in  Spain,  and  in  the  United 
States,  by  over-zealous  patriots,  who  do  not  seem  to  be  aware  that  they  are 
striving  to  make  of  history  a  delusion  and  a  farce  !" 


THE  COLUMBUS  GALLERY.  35 


VI.  THE    PICTURE    IN   THE    MUSEUM  AT  CLUNY. 

On  page  272  of  Lecoy  de  la  Marche,  Les  Manuscrits  et  la  Miniature,  a 
beautiful  work  published  by  the  Biblioihegue  de  L '  Enseignement  des  Beaux 
Arts,  Paris,  without  date,  but  about  1887,  I  find  the  following  important 
notice : 

''During  the  Renaissance,  the  painter  Yasco,  a  disciple  of  Perugimo, 
embellished  a  collection  of  documents  deposited  in  the  Portuguese  Torre  del 
Tombo,  very  richly  with  vignettes  and  arabesques.  About  the  same  time,  a 
Spanish  artist  painted  on  parchment  an  interesting  portrait  of  Christopher 
Columbus,  El  Descubr  idor  del  Nuevo  Mundo  (the  Discoverer  of  the  New 
World).  It  is  a  full  face  portrait,  attired  in  a  plaited  shirt  and  a  yellow 
doublet  with  stripes  of  various  colors.  The  head  is  covered  by  an  angular 
cap  with  turned  up  edges.  This  portrait  can  now  be  seen  at  the  Museum  at 
Cluny." 

Perugino  (Pietro  Yannuci),  the  teacher  of  Raphael,  was  born  in  1446.  He 
opened  his  school  at  Perugia  in  1490,  and  died  there  in  1524.  Therefore,  the 
Spanish  artist  who  painted  this  miniature  might  very  well  have  taken  it  from 
life.  I  have  never  seen  a  copy  of  this  portrait,  neither  have  I  seen  it  men 
tioned  in  any  book,  but  I  consider  it  of  the  highest  importance  and  deserving 
of  very  careful  study. 

Could  this  portrait  be  one  of  the  two  miniatures  from  which  it  is  claimed 
that  the  Morus  portrait  was  copied  ?  The  description  does  not  agree,  but 
Morus  may  have  changed  the  dress  and  followed  the  features  in  the  miniature. 


THE  SIR  ANTHONY  MORE   PORTRAIT. 

I  am  indebted  to  the  kindness  of  Mr.  Charles  F.  Gunther,  of  Chicago,  not 
only  for  many  photographic  copies  of  this  truly  superb  picture,  one  of 
which  I  reproduce,  but  also  for  many  interesting  notices  about  it. 

Whilst  I  completely  agree  with  the  courteous  owner  of  this  artistic  jewel 
in  regard  to  its  uncommon  merits  as  a  picture,  I  regret,  nevertheless,  to  state 
that  his  arguments  have  failed  to  dispel  from  my  mind  the  doubts  that  I  have 
always  entertained  of  its  being  a  portrait  of  Columbus.  The  face  undoubtedly 
has  some  of  the  well-known  lineaments  of  the  Admiral,  but  the  most  important 
are  completely  wanting — the  long  face,  the  high-cheek  bones,  the  peculiar  eye 
brows,  which  are  so  characteristic  of  Columbus,  could  not  have  escaped  the 


THE  COLUMBUS  GALLERY. 


20 — TIIP^   SIR    ANTHONY   MORE   (GUNTIIKR)    PORTRAIT. 

eye  of  such  a  man  as  Anthony  More.  I  will  not  pay  much  attention  to  the 
absurd  dress,  which  did  not  come  into  fashion  until  about  a  century  later, 
because  it  is  a  well-settled  fact  that  the  artists  of  the  sixteenth  and  seven 
teenth  centuries  were  in  the  habit  of  attiring  their  heroes  in  any  manner  which 


THE  COLUMBUS  GALLERY.  87 

suited  their  fancy,  without  regard  to  historical  accuracy  ;  but  I  cannot  accept 
as  a  portrait  of  Columbus,  copied  from  a  miniature  taken  from  life,  that  face 
with  the  queerly  cropped  hair,  mustache  and  goatee. 

Mr.  Curtis,  in  the  Cosmopolitan  Magazine,  gives  the  following  history  of 
this  painting:  "This  portrait  of  Columbus  was  painted  about  1570,  at  the 
order  of  Margaret  of  Parma,  from  a  miniature  said  to  have  been  in  the 
possession  of  the  royal  family  at  Madrid.  The  Gunther  portrait  was  removed 
to  Spain  when  the  Spanish  Court  abandoned  the  Netherlands,  and  is  said  to 
have  hung  in  the  cabin  of  one  of  the  vessels  of  the  Spanish  Armada  during 
the  famous  sea  fight  of  1588.  The  vessel  which  carried  it  went  to  pieces  on 
the  Cornish  coast  of  England,  and  the  owner  of  the  adjoining  estate  kept  the 
picture  as  his  share  of  the  wreckage.  From  that  date,  to  the  middle  of  the 
present  century  it  remained  in  the  possession  of  the  same  family,  when  it  was 
purchased  by  William  Cribb,  of  Covent  Garden,  London.  His  descendants 
sold  it  to  Mi.  Gunther.  The  portrait  was  engraved  in  1850,  and  was  used  by 
Irving  to  illustrate  his  life  of  Columbus.  It  is  painted  upon  a  panel  of 
wood,  about  three  feet  by  two  in  size,  and  bears  in  faint  letters  the  in 
scription  'Ch.  Colombo.'' 

According  to  Mr.  Gunther,  "the  allegorical  frame  in  which  the  portrait  is 
placed  embodies  one  of  the  most  remarkable  and  exquisite  specimens  of  wood 
carving  known  of  ancient  or  modern  times.  It  is  beautifully  gilded,  and  is 
allegorical  of  the  life  of  the  discoverer,  showing  the  drums,  cannon,  Indian 
arrows  and  armor  of  that  period,  capped  with  the  Columbus  coat  of  arms  and 
its  quarterings  of  oyster  shells,  swords,  ship  and  anchor,  and  surmounted  by  a 
golden  crown.  It  is  carved  in  wood  and  is  a  masterpiece  in  its  design  and 
proportions,  and  illustrates  such  work  as  only  royalty  could  command 
in  that  period." 

"  Upon  the  head  of  the  drum  carved  in  the  frame  is  the  date  1590,  the  year 
that  the  portrait  was  brought  into  England. 

"The  frame  was  made  when  the  portrait  was  executed  by  Moro. 

"The  frame  spoken  of  above,  which  was  made  at  the  same  time  a 3  the 
portrait,  is  fully  as  interesting  as  the  canvas.  It  is  fashioned  with  superb 
skill  and  is  a  grand  mass  of  intricate  carving. 

"It  is  gilded,  and  on  the  top  there  is  the  coat  of  arms  and  the  quarterings 
of  Columbus,  the  oyster  shell,  the  anchor  and  the  sword." 

I  repeat  that  I  do  not  entertain  any  doubt  about  the  authorship  of  this 
splendid  work.  According  to  the  opinion  of  many  experts,  it  is  undoubtedly 
from  the  hand  of  Moro ;  but  did  he  intend  in  this  portrait  to  represent 
Columbus?  The  name  in  the  corner  is  of  no  importance  whatever. 


38  THE  COLUMBUS  GALLERY. 

The  Jomard  picture  and  many  others  which  are  entirely  apocryphal  show 
the  same  name. 

The  eminent  Spanish  painter  and  critic,  Valentin  Carderera,  the  author  of 
the  monumental  works,  Iconografia  Espanola,  and  Monumentos  Arquitectbni- 
cos  de  Espaila,  remarks  very  forcibly,  "mustaches  and  goatees  were  never 
icorn  in  the  time  of  .Columbus,  and  the  hair,  far  from  being  cut  short,  was 
worn  long  and  cut  horizontally,  very  often  covering  the  ears." 

As  Mr.  Carderera' s  special  field  was  the  study  of  the  old  portraits  and 
statues  by  Spanish  artists,  which  he  copied  and  published  in  his  famous 
Iconografia  Espailola,  no  man  could  be  a  better  judge  than  he  in  the  matter  of 
the  fashions  prevailing  at  each  period  of  the  history  of  Spain. 

Yet  I  would  call  the  attention  of  the  reader  to  what  I  say  about  the 
miniature  in  the  Cluny  Museum  at  Parig. 

Mi.  Gunther  writes  to  me  also  in  regard  to  some  particular  points  of  this 
portrait  in  these  terms  :  "I  have  recently  discovered,  what  was  unknown  to 
any  one  before,  that  the  second  ring  on  the  index  finger,  left  hand,  has  a  crest 
or  coat  of  arms  on  it — an  exquisite  miniature  painting  of  two  cocks  fighting, 
then  two  scrolls  ornamentally  dividing  it  from  something  else  beneath,  that  I 
am  unable  just  at  present  to  make  out,  because  I  cannot  get  near  enough  to  it 
with  a  glass.  I  have  the  portrait  and  frame  in  a  shadow  box  to  protect  it.'r 
(Cut  No.  20.) 


THE  COLUMBUS  GALLERY. 


39 


SECOND     GROUP. 


PICTURES,   ENGRAVINGS,  STATUES,    AND    BASS-RELIEFS,   EXECUTED    BY   THE 

ARTISTS   IN    STRICT  ACCORDANCE  WITH  THE  DESCRIPTIONS   OF 

THE  ADMIRAL    LEFT    BY  HIS    CONTEMPORARIES. 

To  this  group  I  will  assign  a  few  pictures  and  engravings.     Statues  and 
bass-reliefs  will  be  dealt  with  in  their  proper  places  in  this  work. 

1.  The  Zschoch  Engraving. 

2.  The  Holt  Engraving. 

3.  The  Columbus  of  the  Barabino  Painting. 

4.  Wapper,  Columbus  in  Chains. 

5.  The  Riecke  Engraving. 

6.  The  Jacotin. 

7.  The  Venetian  Mosaic. 


THE  ZSCIIOCH  ENGRAVING.  —  I 
reproduce  the  Zschoch  engraving, 
which  I  believe  is  based  on  that 
of  Montanus,  because  it  represents 
Columbus  with  hair,  mustache  and 
beard  arranged  somewhat  after  the 
ancient  Assyrian  fashion,  and  were 
it  not  for  the  ruff  around  the  neck 
he  would  resemble  a  pirate  in  a  sen 
sational  drama.  It  has  all  the  well- 
known  lineaments  of  Columbus,  but 
it  is  easily  seen  that  it  is  an  entirely 
imaginary  portrait.  All  that  I  know 
about  it  is,  that  it  is  engraved  by 
Zschoch,  and  that  I  have  three  dif 
ferent  copies  of  it,  but  I  fail  to  find 
the  name  of  this  engraver  in  any  of 
the  biographical  dictionaries  I  have 
consulted.  (Cut  No.  21.) 


21— THE  ZSCHOCH   ENGRAVING. 


40  THE  COLUMBUS  GALLERY. 

THE  HOLT  ENGRAVING. — My  object  in  presenting  this  picture  to  my  readers 
is  only  to  show  how  widely  an  entirely  ideal  portrait,  possessing  all  the  char 
acteristics  of  Columbus,  can  differ  from  others  having  the  same  general 
features.  It  is  the  face  of  a  man  capable  of  realizing  all  the  dreams  of  the 
Admiral.  The  execution  is  good,  but,  as  a  portrait  of  Columbus,  it  is  entirely 
worthless.  (Cut  No.  22.) 

THE  NICOLO  BAKABINO  PORTRAIT. — At  the  Orsini  Palace  in  Genoa  is  one 
of  the  most  powerful  and  beautiful  paintings  referring  to  the  life  of  Columbus. 

I  regret  that  its  very  large  size  prevents  me  from 
presenting  an  engraving  of  it  to  my  readers  I  have 
taken  the  full  length  portrait  of  Columbus  from  it. 
(Cut  No.  23.) 

In  the  great  and  magnificently  decorated  hall  of 
the  convent  of  Santo  Domingo,  at  Salamanca,  many 
of  its  learned  monks  are  assembled  by  order  of  the 
King  and  Queen.  They  have  just  listened  to  the 
demonstrations  of  Columbus,  and  nothing  is  more 
amusing  than  to  see  the  different  expressions  on  the 
faces  of  the  good  monks.  Some  look  with  wonder  at 
22 — THE  HOLT  ENGRAV-  the  majestic  man  who  is  explaining  to  them 

doctrines   entirely  contrary  to  what  their  scientific 

lore  has  taught  them  ;  others  cross  their  hands  and  bow  their  heads  as  if 
praying  heaven  to  pardon  the  man  who  is  expounding  such  impious  ideas  ; 
others  take  things  more  easily,  they  simply  believe  the  poor  sailor  is  a  crank 
of  the  harmless  class,  and  laugh  at  him  ;  one  turns  away  his  head,  in  order 
that  he  may  laugh  to  his  heart's  content ;  another  tries  to  conceal  his 
grinning  face  with  a  book,  while  still  another  points  his  finger  at  his  own 
forehead,  and  appears  to  be  indicating  to  his  brethren  that  "that  fellow's 
mind  is  not  well-balanced."  One  of  the  most  magnificent  faces  is  that  of  an  old 
monk  by  the  side  of  Columbus,  leaning  heavily  against  the  wooden  railing, 
and  looking  at  the  face  of  the  Admiral  with  an  expression  of  the  most 
profound  astonishment,  wondering  whether  he  be  a  genius  or  a  fool. 

But  the  figure  of  Columbus  is  something  superb.  Barabino  has  given  him  a 
cast  of  face  tallying  admirably  with  the  descriptions  we  have  of  him.  His 
high  forehead,  uncombed  and  flowing  hair,  eagle  eyes,  magnificent  nose  and 
energetic  mouth,  show  how  he  is  repressing  his  indignation  at  seeing  that 
these  men,  who  are  to  be  the  arbiters  of  the  realization  of  his  life  plans, 
cannot  understand  him  and  are  laughing  in  derision  at  what  they  in  their 
ignorance,  consider  as  the  dreams  of  a  fool. 


THE  COLUMBUS  GALLERY 


23 — COLUMBUS  FROM  THE  N.    BARA13INO  PICTURE, 


42 


THE  COLUMBUS  GALLERY. 


THE  WAPPERS  PORTRAIT. — From  a  beautiful  engraving  in  a  French  illus 
trated  paper,  I  have  taken  the  portrait  of  Columbus  which  appears  in  the 
famous  historical  painting  by  Wappers,  "  Columbus  in  Chains."  The  artist 


24 — COLUMBUS  IN  WAPPERS'  PORTRAIT. 

has  followed  the  descriptions  of  Columbus  and  idealized  his  face.  I  very  much 
regret  that  I  cannot  present  the  whole  picture,  but  the  only  engraving  I  have 
been  able  to  find  in  the  United  States  is  copyrighted  by  the  Magazine  of 


THE  COLUMBUS  GALLERY. 


43 


American  History,  and  my  request  for  permission  to  reproduce  it  has  met  with 
a  peremptory  refusal.     (Cut  No.  24.) 

THE  RIECKE  PORTRAIT.— In  the  work  by  Dr.  G.  A.  Riecke,  entitled, 
CJiristoph  Columbus  der  Entdecker  America's,  there  is  a  beautiful  engraving 
representing  Columbus  in  chains  on  board  the  ship  which  is  carrying  him  home 
to  Spain.  The  Admiral  is  shown  reclining  at  the  foot  of  a  mast,  the  sea  being 
represented  in  the  background.  He  is  clothed  in  black,  with  a  large  light- 
colored  mantle  partially  enveloping  him.  He  has  long  hair  with  a  full  beard 
and  is  leaning  on  his  left  hand,  while  with  the  right  he  is  trying  to  lessen  the 
weight  of  his  heavy  fetters.  The  expression  of  the  face  is  admirable  and 
accords  with  the  descriptions  of  Columbus,  but  at  the  same  time  it  does  not 
resemble  the  generally  accepted  type. 

JACOTIN. — Among  the  many  so-called  portraits  of  Columbus  which  I  have  in 
my  collection,  I  have  selected  this  one  for  publication  only  on  account  of  its 
beauty.  It  has  also  many  of  the  lineaments  characteristic  of  Columbus,  yet  it  is 
entirely  ideal.  I  have  copied  it  from  a  photograph  given  to  me  by  Mr.  Ernesto 
de  Zaldo,  of  this  city,  who  bought  it  in  Paris,  in  the  photographic  gallery  of 
Jacotin.  It  resembles  none  of  the  other 
portraits  of  Columbus  which  I  have  seen. 
(Cut  No.  25.) 

THE  VENETIAN  MOSAIC.— In  1867  the 
Common  Council  of  the  city  of  Venice 
resolved  to  send  as  a  present  to  her  ancient 
rival,  Genoa,  two  beautiful  mosaics  of  two 
great  Genoese,  Marco  Polo  and  Christopher 
Columbus.  This  was  an  act  of  reciprocity, 
as  Genoa  had  not  long  before  presented 
Venice  with  the  busts  of  Pietro  D'  Oria  and 
Vettor  Pisani. 

The    mosaic   is  a  magnificent  piece   of 
work,  six  feet  and  a  half  high,  beautifully 
framed   in    black  marble.      The   figure   of 
Columbus    is  depicted    on  a    gold    back 
ground,  clothed  in  the  dress  of  a  Venetian 
nobleman  of  the  fifteenth  century.     Colum 
bus  is  clean  shaved  ;   the  hair  is  not  very        25— THE  JACOTIN  PORTRAIT. 
long  ;  he  wears  a  barret  cap  and  holds  a  map  in  his  hand.     He  has  a  low- 
necked  shirt  with  a  ruff,  and  an  ample  mantle  of  velvet  with  silk  lapels.    The 
model  followed  appears  to  be  that  of  the  Jovian  portrait.     (Cat  No.  26.) 


44 


26— THE  VENETIAN   MOSAIC. 


THE  COLUMBUS  GALLERY.  45 


THIRD     GROUP. 


IMAGINARY  PORTRAITS  AND  ENGRAVINGS. 

As  it  is  utterly  impossible  to  classify  these  portraits  in  any  systematic  order, 
according  to  generally  recognized  rules,  I  have  therefore,  arranged  them  in 
alphabetical  sequence,  so  that  any  one  desired  may  be  readily  found. 

THE  ALBANY  PORTRAIT. — This  picture  bears  the  inscription  ANNO  1492 
MT.  23.  It  was  probably  painted  by  some  Spanish  artist  in  commemoration 
of  the  first  anniversary  of  the  discovery,  and  the  age  of  the  artist  was  twenty- 
three  years.  Mr.  Curtis'  supposition  that  it  purports  to  represent  Columbus 
at  the  age  of  twenty-three  years  is  entirely  untenable.  A  cursory  inspection 
of  the  picture  shows  that  Columbus  is  represented  as  a  man  of  about  fifty 
years.  The  picture  itself  is  of  very  little  value,  but  it  is  very  old  and  it  was 
presented  to  the  State  in  1784,  by  Mrs.  Maria  Farmer,  a  grandchild  of  Jacob 
Leisler,  Governor  of  the  Province  of  New  York,  in  1689.  It  is  hung  to-day  in 
the  Senate  Chamber  at  Albany,  and  is  considered  the  oldest  picture  of 
Columbus  in  the  United  States. 

ARCHIVES  OF  THE  INDIES. — This  picture  is  a  duplicate  of  the  one  in  the 
Yeragua  Palace  at  Ma.drid,  taken  many  years  afterwards.  It  presents 
Columbus  clad  in  armor  as  a  young  man  with  a  pointed  mustache  ;  he  also 
wears  a  ruff  and  slashed  trowsers. 

I  remember  having  read  in  Ford  that  "  this  picture  is  quite  as  apocryphal, 
and  by  no  means  so  beautiful  as  that  of  Parmigianino  at  Naples." 

THE  BEKWICK-ALBA  PORTRAIT. — In  the  gallery  of  the  Duke  of  Berwick- 
Alba,  in  Madrid,  is  a  magnificent  painting  representing  Columbus.  The 
dress  shows  that  it  is  a  work  of  the  seventeenth  century,  and  though  it  is  very 
beautiful,  is  entirely  untrustworthy.  It  is  very  large,  and  shows  Columbus 
seated  in  a  very  rich  chair  of  state.  Carderera  describes  it  thus  :  "He  is 
clothed  in  a  red  tunic  sprinkled  with  golden  flowers,  over  which  he  wears  a 
kind  of  ducal  mantle  richly  embroidered  with  the  same  metal,  with  an  ermine 
tippet  on  the  shoulders.  He  holds  a  "carried"  sword.  I  have  never  seen  any 
copy  of  this  picture  just  as  it  is.  It  was  engraved  by  the  famous  artist, 
Rafael  Esteva,  in  a  vigorous  and  masterly  manner,  following  the  drawing 
made  by  the  painter  Galiano  from  the  aforesaid  picture.  But  there  are  some 


46 


THE   COLUMBUS  GALLERY. 


very  curious  points  about  this  engraving  ;  the  first  is,  that  the  original  is 
seated  and  holds  a  sword  in  his  hand,  while  in  the  engraving  he  is  shown 
standing  with  the  sword  sheathed  and  his  hand  on  his  hip,  and  there  is  some 

change  in  the  background. 
The  second,  that  at  the  foot 
there  is  the  following  epi 
graph :  "The  original  pict 
ure  was  painted  in  America, 
by  Vanloo."  No  painter 
of  that  name  was  ever  in 
America,  nor  was  one  of 
that  name  born  within  two 
centuries  after  the  death  of 
Columbus. 

In  this  picture  Columbus 
looks  very  young  ;  he  wears 
a  mustache,  with  a  small 
tuft  of  beard  on  the  under 
lip ;  his  hair  is  arranged  in 
a  very  "dudish''  fashion, 
arid  he  wears  the  indispen 
sable  fluted  ruff  and  ruffles. 
Mr.  Curtis  says  that  there 
is  a  copy  in  oil  of  this  por 
trait  in  the  Lenox  Library 
of  New  York,  to  which  it 
was  presented  by  Mr.  James 

27 — THE  BERWICK-ALBA  PORTRAIT,  AS  ENGRAVED.    Lenox  ;   but   the  only  por 
trait  existing  in  the  Lenox 

Library  is  the  one  painted  by  Mr.  Daniel  Huntington  in  1847.     According  to 
Mr.  Huntington  himself,  from  whom  I  have  obtained  this  information,  through 
the  courtesy  of  Mr.  Eames,  the  Assistant  Librarian  of  the  Lenox,  "it  is  not  a 
copy  at  all,  but  was  based   on  a  comparison  of  the  engraved  portraits,  and 
therefore  it  really  has  no  historical  value."     (Cut  No.  27.) 

THE  JUAN  DE  BORGO^A  PORTRAIT. — The  picture  said  to  be  in  the  Chapter 
Room  of  the  Cathedral  at  Toledo,  is  supposed  by  some  to  have  been  painted 
by  Juan  de  Borgofia,  in  1519,  thirteen  years  after  the  death  of  Columbus. 

Curtis  says  that  there  is  an  engraving  of  it  in  one  of  the  English  editions 
of  Irving,  but  I  have  been  unable  to  find  it. 


THE  COLUMBUS  GALLERY.  47 

I  must  state,  however,  that  Pi  y  Margall,  in  his  History  of  Painting  in 
Spain,  says  "that  such  a  picture  does  not  exist  there,"  and  furthermore, 
"  that  there  is  not  the  slightest  evidence  that  such  a  picture  ever  existed." 

THE  Bossr  MEDALLION.— In  Bossi's  La  Vera  Patria  e  La  Vita  de 
Oristoforo  Colombo,  there  is  a  pretty  little  medallion  representing  Columbus. 
I  believe  it  is  taken  from  the  De  Bry  medallion  with  some  slight  changes,  as 
all  the  hard  features  are  greatly  softened.  He  also  reproduces  the  large  De 
Bry  portrait.  This  medallion  is  entitled  to  no  more  credit  than  both  the 
portraits  of  De  Bry. 

THE  DE  BRY  PORTRAIT.— In  the  introduction  to  Part  V.  of  the  Voyages, 
which  is  the  second  part  of  the  Voyage  of  Benzoni,  there  is  a  beautiful 
engraving,  which  many  critics  think  is  simply  a  copy  with  some  variations  of 
the  Versailles  portrait.  It  was  first  published  in  1585,  and  has  been  reproduced 
in  all  the  editions  of  De  Bry  and  in  many  other  works. 

It  represents  Columbus  with  a  broad  heavy  face,  which  is  entirely  Flemish 
in  character,  with  a  big,  flat  nose,  arid  the  hair  arranged  symmetrically  in 
horizontal  rows  of  curls,  with  a  cap  and  the  conventional  dress.  It  will  be 
seen  immediately,  that  the  features  do  not  agree  with  the  descriptions  which 
we  have  of  him. 

De  Bry  claims  that  the  original  was  painted  from  life  by  order  of  the 
Catholic  Kings,  before  Columbus  sailed  on  his  first  voyage  of  discovery,  and 
that  this  original  was  stolen  from  the  Hall  of  the  Council  of  the  Indies  and 
taken  to  the  Netherlands.  He  says  also  that  as  he  had  had  the  good  fortune 
to  obtain  a  copy  of  this  portrait  from  a  friend,  who  had  received  it  from  the 
artist  himself,  he  desired  to  share  his  pleasure  with  his  readers,  and  to  this 
end,  he  caused  it  to  be  engraved  on  copper  in  a  reduced  form  by  his  son. 

Unluckily,  all  this  is  simply  an  advertisement  to  push  the  sale  of  his  book, 
as  the  type  of  the  face,  the  dress  and  style  of  this  portrait,  show  that  they  are 
not  of  Spanish  origin. 

Mr.  Rio  says  that  it  is  not  probable  that  in  the  camp  before  Granada  or  in 
the  port  of  Palos,  painters  should  be  numerous,  or  that  they  should  have  any 
desire  to  portray  Columbus,  when  nobody  took  the  trouble  to  paint  Boabdil, 
especially  as  the  poor  Genoese  was  considered  to  be  somewhat  of  a  visionary. 

As  the  engraving  is  really  a  beautiful  one  and  De  Bry' s  works  had  a  great 
reputation,  it  has  been  reproduced  in  a  number  of  works,  and  it  is  to  be  regretted 
that  even  now  it  is  presented  as  an  authentic  portrait  of  Columbus  in  some 
editions  of  Washington  Irving,  and  in  the  last  edition  published  in  London  of 
the  Historic  of  Ferdinand  Columbus. 

This  portrait  is  the  one  which  represents  Columbus  with  two  warts  upon 


48 


THE  COLUMBUS  GALLERY. 


the  right  cheek.  Carderera  says  that  these  warts  appeared  only  in  the 
earliest  prints,  and  that  they  were  afterwards  erased,  but  in  my  edition  of  De 
Bry,  and  in  all  those  which  I  have  seen,  I  have  invariably  found  the  warts. 
(Cut  No.  28.) 


STROKVM  CONSVnET  IP-SO  NTOBIIXS 
CHKLSTOPHOR*  TAJLI  FKONTE  COLVTVlR'JEJRAl}  i  \ 


28 — THE  DE  BKY  ENGRAVING. 

• 

THE  BE  BRY  VIGNETTE. — The  medallion  in  De  T>ry  (see  cut  No.  29),  is 
truly  beautiful  from  an  artistic  point  of  view,  but  is  absolutely  different  in 
character  from  the  large  engraving  by  the  same  artist.  This  little  picture 


THE  COLUMBUS  GALLERY.  49 

looks  more  like  Columbus,  and  I  believe  the  artist  followed,  to  a  certain 
extent,  the  Capriolo  or  de  Pas  engravings, 

A  careful  comparison  with  the  little  medallion 
published  by  Bossi  leads  me  to  believe  that  the 
Bossi  portrait  is  taken  from  De  Bry's,  with  some 
alterations  to  make  it  appear  an  original  engraving. 
(Cut  No.  29.) 

THE  CARTIIAGENA   PORTRAIT. — Mr.   Jomard,   in  a 
very  able  essay  on  the  portraits  of  Columbus,  enlarged 
upon  the  great  importance  of  the  picture  supposed  to        29 — THE  DE  BRY 
exist  in  the  Navy  Yard,  at  Carthagena,  Spain.     On  MEDALLION. 

petition  of  Mr.  Carderera,  the  Spanish  Government  ordered  it  to  be  sent  to 
Madrid  for  examination.  This  order  could  not  be  complied  with,  as  within 
the  memory  of  man  no  such  picture  had  ever  been  in  the  Navy  Yard  i 
and,  furthermore,  no  mention  could  be  found  in  any  inventory  of  the  Yard 
that  any  such  portrait  had  ever  existed  there,  nor  is  any  reference  made  to 
it  in  any  Spanish  work 

THE  CLADERA  ENGRAVING. — This  engraving  is  a  half-length  picture  of 
Columbus,  as  a  young  man  with  a  mustache  and  goatee.  He  is  clothed  in  full 
armor,  and  wears  a  fluted  ruff  and  wristbands,  which  were  not  worn  until 
half  a  century  after  his  death.  A  silk  sash  passes  over  the  right  shoulder  and 
crosses  the  body.  The  right  hand  only  is  visible  in  the  act  of  pointing  to  his 
discoveries  on  a  globe.  This  globe  is  held  in  the  left  hand.  His  finger 
hinders  a  view  of  the  West  Indies,  but  in  the  portion  of  the  globe  which  is 
visible  all  the  coast  of  America,  from  the  Gulf  of  Mexico  to  Greenland,  is 
perfectly  shown.  The  mouths  of  the  St.  Lawrence  as  well  as  Hudson' sand 
Baffin's  Bays  are  plainly  to  be  seen,  which  proves  that  the  original  from 
which  it  was  taken  must  have  been  posterior  to  the  seventeenth  century,  or 
that  the  artist  who  copied  it  was  guilty  of  gross  anachronisms. 

Cladera  says,  page  32  :  "The  portrait  of  Christopher  Columbus  has  been 
drawn  from  an  original  full-length  painting  about  two  yards  long,  which  was 
the  property  of  his  son  Fernando,  the  character  of  which  warrants  us  in  the 
belief  that  it  was  painted  at  the  beginning  of  the-  sixteenth  century.  This 
picture  is  in  the  house  of  Jose  Colon,  of  His  Majesty's  Council,  who  gave 
permission  to  copy  it.  It  agrees  whith  the  descriptions  which  Don  Fernando 
has  given  of  the  features  of  his  father." 

It  was  painted  by  Antonio  Carnicero  and  engraved  by  Simon  Brieva. 
Carmcero  was  born  in  1748.  He  studied  at  Rome,  was  painter  to  the  King, 
and  died  in  1814.  The  engraving  is  beautiful ;  but,  notwithstanding  what 


50 


THE  COLUMBUS  GALLERY. 


Cladera  says  of  the  artistic  merit  of  the  original  painting  from  winch  it  was 
taken,  it  is  absolutely  worthless  as  a  historical  portrait. 

There  is  a  great  similarity  between  this  picture  and  the  one  in  the  house  of 


r,nmiii!i;i!i:i:i;iTCfl!i^^ 


fcuJb 


30  —  THE  CLADERA  PORTRAIT. 

the  Duke  of  Berwick-Alba,  which  I  reproduce  elsewhere.     The  original  of  this 
picture  is,  according  to  Mr.  Curtis,  in  the  gallery  of  the  Duke  of  Veragua. 

Mr.  Curtis,  by  an  oversight,  says  that  it  was  engraved  by  Carnicero  and 
that  the  signature  is,  Bart.  Vasque   La  Grabo.     I  am  sure  that  this  has  been 


THE  COLUMBUS  GALLERY. 


51 


31 — THE  FLAMENG  ETCHING. 


52  THE  COLUMBUS  GALLERY. 

caused  b}7  the  carelessness  of  the  amanuensis,  as  Mr.  Curtis  had  my  own  copy 
of  Cladera,  which  reads  very  clearly,  "A.  Carnicero  del,"  "  Simn.  Brieva 
sculp."  (See  the  Vasquez  Portrait.)  (Cut  No.  30.) 

COLUMBINA. — The  portrait  in  this  famous  library,  founded  by  Fernando 
Colon,  the  natural  son  of  the  Admiral,  was  presented  to  the  library  about  half 
a  century  ago,  by  King  Louis  Philippe  of  France.  The  attitude  is  one  of 
contemplation,  and  though  it  follows  the  description  of  Columbus,  it  is  easy 
to  see  that  it  is  a  work  of  imagination.  This,  besides  the  evidence  of  its  being 
modern,  renders  it  of  very  small  importance,  whatever  may  be  its  artistic 
merit.  The  name  of  the  artist  who  pajnted  it  is  Mr.  Charles  Legros. 

THE  CONCORD  PORTRAIT. — All  I  know  about  this  portrait  is  what  Mr. 
Curtis  says  respecting  it  in  his  article  in  The  Cosmopolitan  Magazine.  He 
remarks  that  "an  alleged  portrait  of  Columbus  hangs  in  the  public  library  at 
Concord,  Massachusetts,  but  it  bears  no  resemblance  to  the  traditional 
appearance  of  Columbus.  It  was  presented  to  the  library  in  1873,  by  Mr.  A. 
P.  Chamberlaine,  and  is  a  copy  by  Raphael  Mengs  of  an  alleged  Spanish 
portrait.  It  was  formerly  in  the  collection  of  Letizia  Bonaparte,  Napoleon's 
mother — 'Madame  Mere' — at  Rome,  and  was  purchased  by  Mr.  Chamberlaine 
after  her  death.  There  is  a  legend  that  Mengs,  the  artist,  left  a  record 
somewhere  that  he  made  a  copy  of  a  portrait  of  Columbus  by  Titian,  but  this 
record  cannot  now  be  found,  nor  is  there  any  evidence  that  Titian  and 
Columbus  ever  met." 

BOL  OR  ERMITAGE. — Among  the  superb  works  of  art  which  make  up  this 
magnificent  gallery,  founded  by  Catherine  of  Russia,  and  now  the  property  of 
the  Czars,  this  pretended  portrait  of  Columbus,  painted  by  Ferdinand  Bol,  a 
Flemish  artist  born  in  1610,  and  who  died  in  1681,  occupies  a  very  conspicuous 
position.  He  was  the  best  disciple  of  Rembrandt,  whom  he  copied  so 
faithfully  that  many  of  his  works  have  been  attributed  to  the  hand  of  the 
Master.  I  regret  to  say  that  in  the  catalogue  of  the  Ermitage  Gallery  I  have 
not  been  able  to  find  a  description  of  such  an  important  picture.  Mention 
only  is  made  among  the  other  works  of  Bol,  of  a  "Portrait  of  a  man  with  a 
black  hat"  Can  this  be  the  pretended  Columbus  ? 

THE  LEOPOLD  FLAMENG-  PORTRAIT.— In  The  Life  of  Columbus  by  the 
Marquis  du  Belloy  (Paris),  there  is  a  splendid  etching  by  the  famous  artist 
Leopold  Flameng,  assuming  to  represent  Christopher  Columbus.  The  book 
also  includes  many  other  superb  etchings  of  incidents  in  the  life  of  the 
Admiral.  Unhappily,  their  artistic  merit  is  in  inverse  ratio  to  their  historical 
worth.  It  seems  incredible  that  so  talented  an  artist  as  Flameng  should  not 
have  been  more  accurate  in  portraying  the  types  and  dress,  as  well  as  the 


THE  COLUMBUS  GALLERY. 


53 


accessories  of   the  period,   bis  celebrated  etchings  not  having  the  slightest 
resemblance  to  any  thing  Spanish. 

A  mere  glance  at  the  masterly  etching  (No.  31)  will  show  that  this  tall, 
commanding  man  with  the  plumed  cap,  cuirass  and  cloak  with  loose  sleeves, 
and  with  his  hand  on  the  hilt  of  his  sword,  may  be  some  condottiere  of  the 
sixteenth  or  seventeenth  centuries,  but  could  not  possibly  be  Christopher 
Columbus.  Yet  the  picture  is  so  beautiful,  and  the  book  has  been  translated 
into  so  many  languages,  generally  accompanied  by  these,  illustrations,  that  I 
must  yield  to  the  temptation  of  presenting  it  to  my  readers.  (Cut  No.  31.) 

FONTAINE. — Danlos  published  this  portrait,  which  has  been  painted  by 
Fontaine,  and  engraved  by  Pedro  Colon,  Duke  of  Veragua.  I  do  not  agree 
with  Mr.  Curtis,  who  believes  it  is  a  copy  of  the  portrait  in  the  Naval  Museum, 
with  a  more  cheerful  expression.  I  believe  it  is  a  copy  from  the  portrait  in 
the  house  of  the  Duke  of  Veragua. 

THE  LUCCA  GIORDANO  POR 
TRAIT. —  There  is  in  a  palace  at 
Genoa  a  beautiful  picture  of  Col 
umbus  by  Lucca  uFa  Presto."  It 
represents  Columbus  as  almost  a 
boy  with  curly  hair,  attired  in  the 
garb  of  a  Franciscan,  with  a  chain 
around  the  neck  and  holding  a 
quadrant  in  the  right  hand.  The 


lineaments  do  not  correspond  in 
any  respect  to  those  of  the  Ad 
miral  ;  and,  although  the  painting 
is  charming,  it  has  not  the  least 
value  as  a  portrait.  (Cut  No.  32.) 

I  will  say  that,  as  compared 
with  the  Edwards'  picture,  which, 
as  I  say  elsewhere,  is  the  ugliest 
portrait  of  the  Admiral  I  have  seen, 
this  is  the  one  in  which  he  looks 
the  handsomest.  (Cut  No.  32.) 

THE  HAVANA  PORTRAIT.— This  picture  was  presented  in  1796  ^and  not  two 
hundred  years  ago,  as  Mr.  Curtis  says),  by  the  Duke  of  A^eragua  to  the  muni 
cipality  of  Havana,  as  a  token  of  gratitude  for  the  honors  rendered  by  the 
people  of  Havana  to  the  supposed  remains  of  his  ancestor,  Christopher 
Columbus,  on  their  arrival  in  that  city  during  the  preceding  year. 


32 — THE  LUCCA  GIORDANO  PORTRAIT. 


THE  COLUMBUS  GALLERY. 


I  liave  often  seen  it.  It  is  a  most  miserable  daub,  and  is  in  very  bad 
condition.  No  one  can  believe  that  it  is  intended  to  be  a  portrait  of 
Columbus.  He  is  represented  as  clothed  in  the  garb  of  a  familiar  of  the 
Inquisition— has  long  flowing  hair,  pointed  mustache  and  very  small  goatee, 
with  black  eyes  and  protruding  underlip ;  he  also  wears  a  ridiculous  big  white 
collar  and  cuffs.  He  holds  in  the  left  hand  a  globe.  The  inscription,  "For 
Castilla  y  por  Leon  Nuevo  Mundo  ayo  Colon"  is  in  one  of  the  corners. 
Some  people  believe  it  to  be  the  picture  of  the  natural  son  of  the  Admiral, 
Don  Fernando,  who  was  a  churchman.  It  bears  not  the  slightest  resemblance 
to  any  other  old  picture  of  Columbus. 

The  painting  was  originally  80  by  60  centimetres  in  size. 

Happily  for  his  posthumous  repu 
tation,  the  name  of  the  painter  of  this 
daub  is  absolutely  unknown.  (Cut 
No.  33.) 

THE  HERRERA  PORTRAIT. — This  is 
taken  from  the  French  edition  of 
Herrera,  and  has  been  reproduced  in 
Bryant  &  Gay's  History  of  tlie  United 
States.  I  believe  it  is  taken  from  the 
Montanus  portrait.  It  was  also  engrav 
ed  in  the  English  edition  of  fferrera, 
translated  by  John  Stevens  and  pub 
lished  in  London,  in  6  vols.,  1725-1726. 
under  the  name  of  A  General  History 
of  America.  As  a  portrait,  it  is  abso 
lutely  worthless,  but  it  has  been  repro 
duced  in  many  other  works. 

33 — THE  HAVANA  PORTRAIT.  HERRERA,  (VlGNETTE). — This  por 

trait  was  published  in  the  edition  of  Herrera,  dated  1601,  and  looks  very 
much  like  the  De  Bry  vignette,  and  probably  they  are  of  the  same  origin. 

This  vignette  was  reproduced  in  the  edition  of  Barcia  (1726-1730),  but  I 
do  not  agree  with  Winsor  when  lie  states  that  the  one  in  Bryant  &  Gay  is  a 
reproduction  of  this  vignette. 

HULL. — I  am  indebted  to  the  kindness  of  Mr.  Curtis  for  a  copy  of  this 
beautiful  portrait,  and  as  all  I  know  regarding  it  is  what  Mr.  Curtis  states  in 
his  able  articles  in  The  Cosmopolitan,  I  will  therefore  transcribe  the 
paragraphs  relating  to  it  verbatim  : 

"Miss  Esther  Hull,  of  Danbury,  Connecticut,  lias  a  portrait  of  Columbus 


THE  COLUMBUS  GALLERY, 


00 


which  is  of  evident  antiquity,  but  there  is  no  knowledge  of  its  age  or  origin. 

It  represents  Columbus  of  middle  age,  with  a  dove  resting  upon  his  shoulder, 

and  there  is  a  companion  piece  of  Amerigo  Vespucci  by  the  same  artist.     All 

the  owner  knows  of  their  history  is  that 

many  years  ago  they  were  left  for  storage 

with  Mr.  William  Jaggers  of  New  York, 

with  several  other  paintings.     In  1850,  the 

owner  wrote  Mr.  Jaggers  from  a  western 

State  that  he  had  met  with   reverses  and 

desired   to   sell   his   collection.     The   two 

portraits   were  purchased  by  the  father  of 


Miss  Hull,  who  brought  them  to  Danbury. 
At  the  left  hand  upper  corner  of  each 
canvas  is  an  inscription.  On  one  is, 
"  Amerigo  Vespucci;'  on  the  other  'Cristo- 
foro  Colombo,'  which  indicates  that  the 
artist  was  an  Italian."  34— THE  HERRERA  PORTRAIT. 

THE  HUNTIXGTON  PORTRAIT. — The  portrait  in  the  Lenox  Gallery,  New 
York/  is  one  of  the  best  works  from  the  brush  of  the  distinguished  artist, 
David  Huntington.  It  represents  the  Admiral  in  a  three-quarter  length,  with 
a  full  beard  and  wearing  a  cap,  and  a  fur-trimmed  mantle.  In  one  hand  he 
holds  a  scroll,  while  the  other  rests  on  a  small  globe  placed  on  a  table.  Not 
withstanding  its  artistic  merit,  Mr.  Huntington  himself  has  stated  that  the 
picture  is  one  compiled  from  a  comparison  of  different  engravings,  and  it  has 
therefore  no  historical  value.  (See  Berwick- Alba  portrait.) 

JOMARD.  —  This  superb  picture, 
discovered  by  Jomard  in  the  gallery 
at  Vicenzo,  in  Italy,  in  1844,  is  sup 
posed  by  some  critics  to  be  the  work 
of  Titian,  or  of  one  of  his  disciples, 
Domenico  Campagnola,  but  tliere  is 
no  proof  that  Titian  or  Campagnola 
ever  met  Columbus ;  and  further 
more  the  picture  shows  by  its  details 
that  it  was  painted  many  years  after 
the  death  of  the  Admiral.  I  copy 
from  Mr.  Curtis'  interesting  article 

35-THE  HERRERA  WOODCUT.  whafc  Jomard  says   about  it  .       u  The 

Jomard  portrait  is  so  called  in  honor  of  a  distinguished  scholar  and  critic, 


56  THE  COLUMBUS  GALLERY. 

Mr.  Jomard,  for  many  years  librarian  of  the  Bibliotheque  Nationale, 
Paris,  who  discovered  it  in  a  gallery  at  Vicenza,  Italy,  in  1844.  '  I  saw  it  by 
chance,'  says  Mr.  Jomard  (in  Bulletin  de  la  Societe  de  GeograpJiie 
Troisieme  Serie,  Tome  III.,  1843),  'though  I  was  attracted  by  the  ancient 
appearance  of  the  painting,  by  its  beauty,  and  by  the  noble  character  of  the 


36— THE  HULL  PORTRAIT. 


whole  figure.  Drawing  nearer  to  the  painting,  what  was  my  surprise  when 
I  saw  in  old  gold  letters  of  the  style  of  the  time,  on  the  right  angle,  these 
two  words:  Christoforus  Columbus.  It  will  easily  be  believed  that  I  lost 
no  time  in  collecting  all  information  apt  to  enlighten  me  as  to  its  origin. 


THE  COLUMBUS  GALLERY. 


Thanks  to  the  kindness  of  the  noble  and  learned  Count  Orti  Manama,  Podestji 
of  Verona,  I  was  soon  in  possession  of  all  facts.     It  will  be  easily  understood 


;oca  FFT 


37 — THE  JOMAKD  PORTRAIT. 

why  such  a  treasure  remained  so  long  unknown.  The  family  owning  it  kept 
it  carefully,  although  unaware  of  its  importance.  The  last  member  bequeathed 
it  to  his  native  city  and  at  his  death  it  was  placed  in  the  public  gallery." 


58 


THE  COLUMBUS  GALLERY. 


Carderera  believes  that  this  picture,  whoever  the  artist  may  be,  was  painted 
at  the  beginning  of  the  seventeenth  century,  about  the  time  of  Philip  III,  as 
the  dress  is  in  exact  accordance  with  the  costume  of  that  period,  and  that 
the  name  on  it,  Christophorus  Columbus,  was  added  at  a  later  date,  and  is 
simply  an  imposture. 

Jomard  claims  that  this  picture  embodies  all  the  characteristics  of 
Columbus,  and  that  the  anachronisms  are  the  work  of  later  times ;  but  this 
is  carrying  his  contention  to  the  verge  of  absurdity. 

Though  this  picture  has  been  reproduced  in  many  modern  works,  I  do  not 
think  that  any  one  to-day  considers  it  as  authentic.  (Cut  No.  37.) 

JULIUS  ROMANUS. — In  the  Municipal  Palace  at  Genoa  there  is  a  large 
picture  containing  two  medallions,  one  representing  Columbus  and  the  other 

Arnericus  Yespucius :  the  artist  was 
undoubtedly  a  great  master,  and  by 
common  consent,  this  picture  has  been 
attributed  to  Julio  Romano,  who  died 
in  1546.  It  looks  somewhat  like  the 
Crispin  de  Pas  cut  and  may  be  a  copy 
of  some  sketch  made  in  Spain :  yet  I 
fail  to  find  in  it  the  well-known  fea 
tures  of  the  Discoverer.  (Cut  No.  38. ) 
THE  MENGS  PORTRAIT. — I  have 
sometimes  read  that  Raphael  Mengs 
painted  a  portrait  of  Columbus  in  the 
last  century,  which  was  copied  from 
38— THE  JULIO  ROMANO  PORTRAIT.  an  ol(1  master  and  some  even  say  that 

this  old  master  was  Titian.  I  have  carefully  examined  the  catalogue  of  the 
works  of  Mengs,  as  well  as  many  biographies  of  this  famous  artist,  but  have 
failed  to  find  reference  to  any  such  portrait.  The  Concord  portrait,  already 
mentioned,  has  been  supposed  to  be  this  much  sought-for  painting,  but  so  far  as 
I  can  gather  this  picture  cannot  possibly  be  the  work  of  such  a  master  as  Mengs. 
MONTANUS. — Opposite  page  4-i,  of  my  copy  of  Dr.  0.  Dapper,  Die 
UnbeJcante  Neue  Welt,  Amsterdam,  1673,  there  is  a  splendid  copper  plate 
engraving  purporting  to  represent  Columbus.  It  is  supposed  to  be  a  copy 
from  a  picture  painted  at  Nuremberg,  in  1661.  It  first  appeared  in  the  Dutch 
edition  of  Montanus  in  1671 :  then  in  Dapper,  who  pirated  it  from  Montanus, 
and  also  in  QgilbiJ s  America.  I  believe  Mr.  Curtis  is  perfectly  right  in 
considering  the  portrait  published  in  Herrera  and  adopted  by  Bryant  as  a 
copy  of  the  Montanus  engraving,  with  some  slight  changes.  (Cut  No.  39.) 


THE  COLUMBUS  GALLERY. 


59 


THE    Muftoz    PORTRAIT. — The  frontispiece    of    the  Hlstoria   del  JVuevo 
Mundo,  is  a  copy  from  the  original  of  Mariano  Maelia  and  was  not  painted  one 


39— THE  MONTANUS  ENGRAVING. 

hundred  years  after  the  death  of  Columbus,  as  Mr.  Curtis  erroneously  says. 
Maelia  died  in  1819,  and  was  the  General  Director  of  the  Academy  of  San 


60 


THE  COLUMBUS  GALLERY. 


Fernando,  and  Court  Painter  to  the  King  up  to  the  time  of  his  death.  Maella 
followed  the  painting  in  the  gallery  of  Yeragua  or  that  in  the  Archives  of  the 
Indies,  reproducing  it  with  the  cuirass  and  ruff.  This  portrait  is  very  similar 
to  that  of  Cladera,  even  in  the  wearing  of  the  sash  across  the  breast.  It  has  a 


40 — THE  MUNOZ  PORTRAIT. 


heavy  mustache  and  a  small,  full,  closely  clipped  beard.  It  has  been 
reproduced  a  number  of  times,  with  changes  dictated  more  or  less  by  the  fancy 
of  the  artist.  According  to  Carderera,  it  is  not  deserving  of  much  credit.  I 
have  about  one  dozen  copies  of  it  and  they  all  differ,  more  or  less. 


THE  COLUMBUS  GALLERY.  61 

Mr.  Curtis  says  that  a  copy  of  this  picture  was  presented  in  1818,  by  R. 
W.  Mead  to  the  Pennsylvania  Academy  of  Arts,  but  it  has  disappeared. 
(Cut  No.  40.) 

THE  PAKMIGIANINO  PORTRAIT. — Perhaps  the  most  beautiful  of  all  the 
pretended  portraits  of  the  Admiral  now  in  existence,  is  the  one  at  Naples,  in 
the  Real  Museo  Borbonico,  which  is  the  work  of  the  chaste  and  correct  brush 
of  Francesco  Mazzuola,  better  known  as  "il  Parmigianino." 

This  superb  panel  has  challenged  the  admiration  of  all  who  have  seen  it,  on 
account  of  its  beauty,  and  has  been  reproduced  everywhere.  Unhappily,  it  is 
a  purely  imaginative  work,  and  as  Becchi  justly  says,  in  his  famous  work  on 
the  Real  Museo  Borbonico,  is  not  deserving  of  the  slightest  confidence. 

Carderera,  who  has  examined  it  carefully,  does  not  believe  that  the  artist  ever 
intended  it  to  represent  Columbus.  Not  even  the  slightest  point  of  resem 
blance  is  to  be  found  between  the  descriptions  of  the  Admiral  and  the  face  in 
this  painting.  It  represents  a  courtier  of  insinuating  manners  and  forbidding 
appearance.  The  difference  is  still  greater  between  the  dress  and  austere 
aspect  of  Columbus  and  the  elaborate  and  effeminate  ornaments  of  this 
personage,  whose  head  also  is  entirely  different  in  shape  from  that  of  the 
Admiral.  The  hair  is  arranged  in  elegant  and  symmetrical  curls,  which,  as 
well  as  the  long  beard,  are  most  carefully  combed  and  crimped,  a  thing  very 
rarely  seen  in  the  time  of  Ferdinand  and  Isabella  in  Italy  and  Spain.  Still 
more  out  of  fashion  is  the  red  cap,  slashed  after  the  Dutch  mode,  and  with 
feathers  and  gilt  button.  The  same  thing  can  be  said  of  all  the  rest  of  his 
attire  and  even  of  the  ring  which  he  wears. 

Carderera  says  that  one  of  the  causes  which  has  given  rise  to  the  pretension 
that  this  picture  represents  Columbus  is  the  clasp  on  the  cap,  on  which  is  the 
representation  of  a  ship  passing  beyond  the  Pillars  of  Hercules.  Even  in  case 
this  is  true,  it  may  be  simply  one  of  the  devices  commonly  used  by  notable 
persons  of  the  time,  for  whom  Jovius,  Ruscelli,  Capaccio  and  other  famous 
Italians  published  their  costly  works.  Don  Garcia  de  Toledo,  who  was 
Viceroy  of  Catalonia,  used  a  compass  as  his  device :  Isabel  de  Cocceggio, 
displayed  two  anchors  in  the  sea :  Estevan  Colonna,  two  columns  on  the  high 
sea  with  a  ribbon  uniting  them,  a  siren  between  them  and  the  motto,  "His 
suffulta"  and  none  of  them  were  discoverers.  This  picture  bearing  the  name 
of  Christopher  Columbus,  was  for  many  years  in  the  Farnese  Gallery  and  has 
been  described  by  many  distinguished  writers,  who  have  overlooked  all  the 
inconsistencies  in  it.  It  has  also  been  reproduced  in  many  works :  even 
Prescott  in  his  History  of  Hie  CalJwlic  Kings,  has  adopted  it,  but  at  present 
nobody  considers  it  to  be  a  portrait  of  Columbus,  and  some  believe  that  it  is  a 


62 


THE  COLUMBUS  GALLERY. 


portrait  of  Gilberto  de  Sassuoli,  a  distinguished  nobleman  who  was  born  in 
1502  and  died  in  1570. 

That  the  picture  could  never  have  been  taken  from  life  is  very  easily 


41 — THE  PARMIGIANINO  PORTRAIT. 

established  by  stating  the  fact  that  Mazzuola  was  born  in  1503  and  died  in 
1540,  and  was  therefore,  only  three  years  of  age  at  the  time  of  the  death  of 
Columbus.  He  was  a  disciple  of  Raphael  and  painted  many  beautiful 


THE  COLUMBUS  GALLERY. 


portraits,  among  them  one  of  Americas  Vespucius.  The  pretended  portrait  of 
Columbus  was  painted  at  Parma,  in  1527,  by  order  of  Cardinal  Alessandro 
Farnesi.  The  King  of  Naples  was  his  heir  and  removed  it. to  Naples.  I  have 


42 — THE  PHILOPONUS  ENGRAVING. 

also  seen  a  beautiful  copy  of  this  portrait  on  a  bank  note  of  the  Republic  of 
Santo  Domingo,  and  I  have  been  told  by  a  friend  that  he  has  seen  it  on  "bills 
issued  by  some  State  banks  in  this  country.  The  engraving  by  Bierstadt  on 


64  THE  COLUMBUS  GALLERY. 

certain  United  States  bank  notes  appears  to  be  a  copy  of  the  same  picture  with 
some  very  noticeable  changes.     (Cut  No.  41.) 

THE  PHILOPONUS  PORTRAIT. — The  first  plate  in  the  curious  work  of 
Honorius  Philoponus,  Nova  Typis  Transacta  Navigatio,  &c.,  &c.,  printed  in 
1621,  but  with  no  mention  of  the  place  of  publication,  is  a  full  length  portrait 
of  Columbus.  As  I  reproduce  it,  and  it  has  no  particular  history  or  historical 
value,  I  do  not  consider  it  necessary  to  give  any  description  of  it,  but  will 
merely  call  the  attention  of  my  readers  to  the  extraordinary  dress  and  cap 
worn  by  the  Admiral,  as  well  as  to  the  very  original  map  in  which  the  name 
of  America  is  given  only  to  the  northern  part  of  the  United  States.  I  would 
also  like  to  call  attention  to  the  quaint  inscriptions  on  the  said  map  and  the 
design  of  the  caravel.  (Cut  No.  42.) 

SEBASTIAN  DEL  PIOMBO. — Among  the  treasures  in  the  Bibliotheque 
Nationale  of  Paris,  is  a  beautiful  wood  engraving  which  bears  the  following 
inscription : 

HMO  EST  EFFIGIES  LIO  URI  MIR  AND  I  COL  UMBI 

ANTIPODUM  PRIMUS  RATE  QUI  PENETRA  VIT  IN  ORBEM, 
and  signed, 

SEBASTIANUS  VENETUS  FECIT, 
which  means  : 

"This  is  the  portrait  of  the  wonderful  Genoese  Columbus,  the  first  who 
in  a  ship  reached  the  world  of  the  antipodes  : 

Sebastian  the  Venetian  made  it." 
j 

I  have  never  seen  a  copy  of  it  nor  even  a  description,  but  M.  R.  Darzens, 
writing  of  it  in  the  Paris  Figaro,  says:  "Notwithstanding  the  inscription,  it  does 
not  bear  the  least  resemblance  to  the  de  Orchi  portrait,  which  is  claimed 
to  "be  the  original  Jovius  portrait."  He  proceeds  to  remark  humorously: 
"There  are  in  addition — in  the  Bibliotheque  Nationale,  where  I  have  unearthed 
forty-six  different  types,  of  a  more  or  less  recent  date,  reproducing  the  features 
of  Christopher  Columbus, — a  number  of  old  engravings.  There  is  something 
there  to  suit  all  tastes.  There  are  fat  Columbuses,  thin,  bearded,  mustached, 
long-haired,  bald,  in  fact  as  I  have  said,  something  to  suit  all  tastes,  which 
excuses  me  from  discussing  them." 

RIBERA. — The  figure  of  Columbus  in  the  large  fresco  in  the  Hall  of 
Sessions  of  the  Palace  of  Deputies  at  Madrid,  is  the  work  of  Carlos  Luis  de 
Ribera,  but  although  it  is  of  great  artistic  merit  it  has  no  pretensions  to  be 
considered  a  portrait  of  Columbus. 

THE  RIJSTCK  PORTRAIT. — Some  days  after  the  close  of  the  sessions  of  the 
Congress  of  Americanists,  held  at  Luxemburg,  in  1877,  a  letter  was  forwarded  to 


THE  COLUMBUS  GALLERY. 

the  Committee  on  Publication  by  Baron  de  Dumast,  who  had  received  it  from 
Mr  Kinck,  a  French  portrait  painter  of  New  York.     The  letter  was  accom 
panied  by  a  picture  which  under  any  circumstances  deserves  to  be  reproduced, 
if  only  for  the  amusement  of  my  readers. 
I  will  not  follow  Mr.  Rinck  in  his 
original   argument  in   favor  of  the  au 
thenticity  of  this  picture,  for  I  cannot 
believe  for  a  moment  that  so  talented 
an  artist  as  he  is,  would  seriously  main 
tain  that  the  old  miser  weighing  an  egg 
in  his  emaciated  hand,  is  intended  to 
represent  Columbus,  and  that  the  gro 
tesque  lineaments  of  so  vulgar  a  face, 
agree   with   the  well-known  noble  and 
energetic  features  of  the  Admiral,  and 
at  the  same  time  I  cannot  consider  it  as 
a  practical  joke  perpetrated  on  Baron 

Dumast. 

Mr.  Rinck  says  that  in  1845  or  1846, 

being  in  New  Orleans,  he  attended  an 
auction  sale  where  he  saw  the  picture 
which  was  catalogued  under  the  title, 
Le  Vieux  Gastronome,  and  that  recognizing  at  a  glance,  the  merit  of  the 
picture  he  bid  for  and  secured  it,  amid  the  sneers  of  the  bystanders  !  I  think 
the  bystanders  were  perfectly  right,  as  the  subject  of  the  miserable  daub  seems 
to  be  joining  in  the  sneers  at  the  absurd  claim  made  in  its  favor.  The  poor 
old  man  is  attired  in  a  semi-military  old  coat,  of  brown  and  red — the  Spanish 
colors,  as  Rinck  says — being,  as  is  well-known,  red  and  yellow.  The  coat 
belongs  to  the  Eighteenth  if  not  to  the  Nineteenth  century. 

The  joke,  however,  has  been  carried  too  far,  and  it  is  not  my  intention  to 
contribute  to  such  an  exibition  of  bad  taste.  (Cat  No.  43.) 

SCAKDONI. — The  Worcester  Antiquarian  Society  possesses  a  picture  of 
Columbus  painted  by  Scardoni.  I  have  been  told  that  it  resembles  the  Moro 
portrait  but  have  been  unable  to  find  a  description  of  it. 

SCOTTO. — The  portrait  engraved  by  Scotto,  copied  from  a  design  by  Bel- 
loni,  is  nothing  more  than  the  De  Bry  picture,  with  the  addition  of  a  small 
mustache,  which  makes  it  still  more  ridiculous  than  the  original. 

THEVET,  (First  Picture). — There  are  two  portraits  of  Columbus  published 
by  Thcvet ;  one  of  them  is  described  by  Curtis,  and  is  reproduced  in  Cut  No.  44. 


43 — THE  RINCK  PORTRAIT. 


66 


THE  COLUMBUS  GALLERY. 


Mr.  Curtis  says  in  his  article  in  the  Cosmopolitan,  regarding  this  picture  : 
"Andre  The  vet,  in  his  Portraits  et  Vies  des  Hommes  lllustres  which  was  first 
published  in  Paris  in  1584,  gives  us  a  Columbus  of  a  solemn  type  that  looks 
more  like  an  astrologer  of  the  middle  ages  than  a  seaman.  It  is  a  rude  wood 
cut  and  has  been  frequently  copied.  It  appears  in  N.  D.  Clerck's  Tooneel  der 


44 — THE  THEVET  OUT. 

Beroemder  Hertogen,  published  at  Delft  in  1617;  in  North's  edition  of  Plu 
tarch's  Lives,  published  at  Cambridge  in  1676;  Isaac  Bullart's  Academie 
des  Sciences  et  des  Arts,  published  at  Brussels  in  1682,  and  in  several  other 
works  of  later  date.  Clerck  says  that  Thevet  obtained  the  portrait  in  Lisbon, 
and  that  it  was  painted  by  a  Dutch  artist  while  Columbus  was  living  there." 


THE  COLUMBUS  GALLERY. 


67 


I  may  add  that  though  the  engraving  is  very  rough,  it  is  splendidly  designed: 
and  the  face  is  that  of  a  man  of  extraordinary  intelligence  and  energy,  and 
though  not  resembling  in  the  least  the  Jovian  type,  yet  it  agrees  fully  with 
the  descriptions  we  have  of  Columbus. 

The  live  large  stars  in  the  background  are,  according  to  the  opinions  of 


45 — THE  THEVET  ENGRAVING. 

some,  the  great  Southern  constellation,  the  "  Cross,"  which  can  be  seen  during 
part  of  the  year  from  almost  any  place  in  the  regions  discovered  by  Columbus; 
others  believe  it  to  be  the  "  Great  Bear/' 

The  second  Thevet  portrait  is  a  very  good  engraving  from  a  copper-plate. 
The  face  is  full  of  intelligence  and  energy,  but  the  eyebrows,  the  eyes,  the 


68  THE  COLUMBUS  GALLERY 

forehead,  the  nose  and  the  mouth  are  entirely  different  from  those  of  the  other 
portrait :  there  is  not  the  least  resemblance  between  them. 

Thevet's  works  have  enjoyed  great  popularity.  They  are  at  present  rare  ; 
but  as  a  curiosity,  there  is  quite  a  demand  for  them.  I  do  not  think  that 
among  the  portraits  with  which  his  works  are  illustrated,  there  is  a  single  one 
deserving  of  any  confidence  ;  the  engraving  No.  45  is  taken  from  one  of  the 
German  editions  of  his  works. 

THE  YASQUEZ  PORTRAIT. — The  origin  of  the  Cladera,  Munoz  and  Yasquez 
pictures,  and  of  the  high-relief  in  the  Cathedral  at  Havana,  is  very  curious. 
About  the  end  of  the  last  century,  the  Duke  of  Veragua  found  among  the 
collection  of  pictures  belonging  to  the  family,  a  beautiful  painting  of  a  man 
seated  on  a  sort  of  a  throne,  attired  as  a  grandee  of  Spain,  bearing  the  inscrip 
tion  of  D.  Cristobal  Colon.  Believing  it  to  be  the  picture  of  the  great  Admiral, 
he  at  once  instructed  the  celebrated  engraver  Yasquez  to  make  a  copper-plate 
of  it,  stating  that  the  original  was  in  the  gallery  of  the  family.  As  the  Yasquez 
engraving  was  a  magnificent  work  of  art  and  the  engraver  had  the  high  author 
ity  of  a  descendant  of  Columbus  as  to  its  authenticity,  no  doubt  was"  enter 
tained  as  to  the  correctness  of  the  claim.  Munoz  accepted  the  picture  as  did 
Cladera,  and  when  the  high-relief  was  ordered  for  the  Cathedral  at  Havana, 
this  engraving  was  the  original  from  which  it  was  taken,  no  attention  being 
paid  to  the  anachronisms  in  the  dress  and  the  type  of  the  picture,  which 
cannot  possibly  be  a  portrait  of  Columbus  if  we  consult  the  pen  portraits  of 
him  left  by  his  contemporaries. 

This  engraving  has  been  widely  copied :  the  more  especially  because  it  had 
been  accepted  by  such  eminent  authorities  as  Munoz  and  Cladera.  The 
beautiful  original  of  this  engraving  was  never  intended  as  a  portrait  of  the 
Admiral,  but  of  his  grandson,  Cristobal  Colon  y  Toledo,  brother  of  the  third 
Admiral  of  the  Indies,  D.  Luis,  the  son  of  D.  Diego,  son  of  the  Discoverer. 
The  age,  type,  and  accessories  of  the  picture  described  on  page  69,  which  is 
still  in  the  Yeragua  gallery,  agree  exactly  with  the  appearance  of  the  person 
whom  it  is  now  known  to  represent. 

The  engraving  is  of  large  size  and  bears  the  inscription: — "CHRISTOVAL 
COLON— COPI ADO  DE  UN  QUADRO  ORIGL.,  QUE  SE  CONSERVA 
EN  LA  FAMILIA—BART  VAZQUE  LA  GRABO  1791."  It  is  a  three- 
quarter-length  portrait  of  Columbus,  in  which  he  is  represented  as  a  young 
man  clad  in  armor  with  a  ruff  around  the  neck.  He  wears  a  mustache  and 
goatee  and  holds  a  globe  in  his  right  hand  and  in  the  left  a  baton  of 
command. 

THE  YERAGUA  PORTRAIT.  —  The  portrait  in  the  gallery  of  the  Duke  of 


THE  COLUMBUS  GALLERY.  69 

Veragua,  one  of  the  descendants  of  the  Admiral,  was  painted  at  the  end 
of  the  XVIth  century.  It  retains  some  of  the  features  of  the  Columbus  face, 
but  he  is  represented  as  a  young  man  with  mustache  and  goatee,  wearing  a 
ruff  and  cuffs,  which  were  worn  at  the  time  it  was  painted  :  Carderera  con 
siders  it  to  be  worthless.  It  is  claimed  that  this  portrait  is  a  copy  from  an 
original  which  was  carried  from  Santo  Domingo  to  Havana,  together  with  the 
supposed  remains  of  Columbus,  at  the  close  of  the  last  century.  Such  an 
original  was  not  received  at  Havana,  and  probably  never  existed  in  Santo 
Domingo.  The  only  portrait  at  Havana  is  one  sent,  in  1796,  by  the  Duke  of 
Veragua,  the  great-grandfather  of  the  present  Duke.  It  is,  perhaps,  a  portrait 
of  Don  Fernando  Colon,  the  son  of  the  Admiral.  It  is  said  that  this  original 
picture  was  painted  on  board,  and  was  about  18  or  20  inches  in  height :  no  one, 
to  my  knowledge,  has  ever  seen  it. 

THE  VERSAILLES  PORTRAIT,  No.  1. — In  the  Versailles  Gallery  there  is  a 
beautiful  portrait  painted  on  wood,  which  was  presented  to  the  Gallery  long 
ago,  by  the  Count  de  Montesquieu.  Though  it  has  great  artistic  merit,  it  is 
absolutely  worthless  as  a  portrait,  as  it  has  none  of  the  characteristics  of 
Columbus.  It  is  a  bust ;  the  face  is  very  broad  and  clean-shaven,  with  a  big 
fiat  nose,  large  dark  eyes,  and  long  hair  almost  concealed  by  a  cap.  According 
to  Carderera,  the  dress  and  cap  are  an  exact  reproduction  of  the  fashion  of  the 
time  of  the  Catholic  Kings ;  yet  Feuillet  des  Conches  calls  them  strange  and 
exotic. 

Feuillet  des  Conches  believes  that  it  was  painted  by  a  disciple  of  John  de 
Bruges  or  Van  Eyck,  as  both  the  type  and  the  style  are  Flemish  :  others  say 
that  it  may  have  been  painted  at  Lisbon,  while  Columbus  was  at  that  Court. 

It  is  undoubtedly  very  old  and  bears  so  close  a  resemblance  to  the  de  Bry 
portrait,  that  it  is  believed  to  be  the  original  followed  by  that  artist  ;  yet  the 
de  Bry  has  two  well-defined  warts  on  the  right  cheek  and  the  Versailles 
has  none. 

This  portrait  has  been  engraved  very  often  and  the  best  representation  of  it 
is  the  beautiful  plate  by  Mercuri.  It  has  also  been  reproduced  by  Gavard  in 
the  Galerie  Historique  de  Versailles  and  Mr.  Curtis  mentions  thirteen  copies 
of  it  including  the  de  Bry  in  1595.  It  is  catalogued  at  the  Museum  as  a  work 
of  the  XVIth  century  under  No.  2,997.  (Cut  No.  46.) 

THE  VERSAILLES  PORTRAIT,  Xo.  2. — The  best  notice  I  have  found  of  the 
second  portrait  at  Versailles,  is  that  written  by  Mr.  Curtis,  and,  as  this  gentle 
man  has  kindly  authorized  me  to  make  any  use  I  desire  of  his  essay  and  cuts, 
I  copy  verbatim  from  his  often  quoted  article  in  The  Cosmopolitan.  Mr. 
Curtis  says:  "The  second  Versailles  portrait  which  is  said  to  have  disappeared 


70 


THE  COLUMBUS  GALLERY 


.$-• 


46 — THK  VERSAILLES  1'ORTRAIT 


THE  COLUMBUS  GALLERY. 


71 


during  the  Franco-Prussian  war,  was  very  ancient  also,  and  plainly  of  Dutch 
origin.  It  was  painted  on  a  small  panel  of  wood  twelve  "by  fourteen  centi 
metres  in  size.  There  was  an  anchor  on  the  frame  and  on  the  right  side  of  the 
figure  an  inscription  of  eight  lines  in  ancient  Dutch,  which  reads  :  '•Crisloff  de 
Colomb,  Groots  Admiral  Vost  Zee  onder  Feniand?  that  is,  '•Christopher 
Columbus,  Grand  Admiral  of  the  Eastern  Seas  under  Ferdinand.'1  The  head 
was  completely  bald,  and  the  costume  a  great  coat,  or  vitchouva,  worn  by 
sailors  in  the  beginning  of  the  sixteenth  century.  Its  antiquity  was  evident, 
not  only  in  the  materials  used,  but  because  the  costume,  the  style  of  letters 
and  orthography  of  the  inscription  were  not  in  vogue  later  than  1650." 

AXONYMOUS. — In  the  Illustrated  American  Biography,  published  at  New 
York,  in  1853,  by  Jones  and  Emerson,  there  is  a  beautiful  wood  engraving  which 
it  is  pretended  is  a  half-length  portrait  of  Columbus,  omitting  the  hands.  The 


47 — ANONYMOUS  CUT. 

face  is  noble  and  commanding  and  the  eyebrows  strictly  historical ;  the  fore 
head  is  high  and  intellectual,  but  the  nose,  mouth  and  eyes  have  not  the  well- 
known  characteristics  of  Columbus.  The  hair  is  quite  long  and  he  wears  a  full 
beard  and  mustache  ;  he  is  clad  in  armor,  with  the  right  shoulder  half  covered 
by  a  mantle.  It  has  been  copied  in  many  American  educational  works,  and 
that  is  the  reason  for  my  describing  it ;  as  a  portrait  it  is  absolutely  worthless. 
ANONYMOUS. — The  allegorical  picture  of  Columbus  which  I  reproduce  in 
cut  No.  47  has  been  published  in  many  geographical  works.  It  looks  like  a 
reproduction  of  the  Parmigianino  portrait,  and  is  therefore  worth  no  more 
than  the  original  from  which  it  was  taken.  On  the  one  side  the  crews  of 
Columbus  are  seen  disembarking  from  his  ships  on  an  island  covered  with 
palms,  and  on  the  other  is  a  thriving  manufacturing  town.  Unluckily  the 


72  THE  COLUMBUS  GALLERY. 

sword  traversing  the  background  of  the  picture,  also  shows  allegorically  the 
instrument  by  which  the  conquest  was  accomplished, 

COLUMBUS  ON  HORSEBACK. — GENOA. — In  the  Paradise  diAlbaro,  belonging 


48 — BRYAN-EDWARDS  COLUMBUS  AND  HIS  FAMILY. 

to  the  Saluzzo  family,  there  is  a  large  portrait  of  Columbus  on  horseback, 
riding  over  one  of  the  islands  he  has  discovered.  We  are  told  that  the  picture 
is  very  beautiful  and  full  of  life  and  light,  that  the  luxuriant  vegetation  of  the 


THE  COLUMBUS  GALLERY.  73 

tropics  is  shown  to   advantage  and  with  truth,  but  as  the  head  is  purely 
imaginary,  it  has  no  value  aa  a  portrait. 

THE  BRYAN-EDWAKDS  PICTURE. — I  think  it  is  proper  to  conclude  this 
long  enumeration  of  the  portraits  of  Columbus,  by  a  family  group  repre 
senting  the  Admiral,  Beatriz,  Don  Diego  and  Don  Fernando.  This  engrav 
ing  is  in  the  fourth  edition  of  the  History  of  the  West  Indies,  published 
in  London,  in  1807,  and  it  is  copied  "from  an  ancient  Spanish  picture  in 
the  possession  of  Edward  Home,  Esq.,  of  Bevis  Mount,  near  Southampton," 
so  says  Edwards. 

Edwards  also  claims  that  the  date  of  the  picture  is  about  1504,  at  the  time 
of  the  return  of  Columbus  from  his  fourth  voyage,  and  the  evidence  that  he 
adduces  to  this  effect,  incidentally  establishes  the  fact  that  it  is  apocryphal. 

He  says  that  the  Mar  del  Sud  is  marked  on  the  original  map,  and  as  the 
Southern  Sea  was  not  discovered  until  1513,  by  Balboa,  it  is  absolutely 
impossible  that  this  portrait  could  have  been  taken  from  life. 

The  portraits  of  Beatriz,  Fernando  and  Diego,  would  be  a  great  acquisition 
for  the  lovers  of  art  from  a  historical  point  of  view,  but  unfortunately  this  is  a 
fact  too  good  to  be  true :  a  mere  glance  is  sufficient  to  convince  us  of  the 
fallacy  of  the  pretension,  as  the  types,  the  dress,  accessories  and  other 
particulars,  show  that  this  picture  must  have  been  painted  at  least  one 
hundred  years  subsequent  to  the  date  claimed,  and  that  the  modest  artist 
who  painted  it,  and  forgot  to  sign  his  name,  had  no  intention  of  portraying  so 
illustrious  a  family,  but  probably  some  rich  Dutch  merchant  or  planter,  and 
his  sons,  who,  after  a  lesson  in  geography,  are  preparing  to  partake  of  the 
luscious  fruit,  which  a  female  servant  wearing  an  apron  is  bringing  to  the 
table.  A  nondescript  animal  intended  for  a  dog,  bat  resembling  a  cross 
between  a  sheep  and  the  former  animal,  is  depicted  as  hungrily  eying  the 
head  of  the  family. 

The  features  of  the  servant  and  the  boys  are  of  the  true  Dutch  type.  In 
regard  to  Columbus,  I  will  only  say  that  this  is  the  ugliest  alleged  portrait 
of  him  I  have  ever  seen.  (Cut  No.  43  ) 

To  this  cursory  and  yet  somewhat  lengthy  review  of  some  of  the  so-called 
portraits  of  Columbus,  I  will  add  that  there  is  in  existence  a  very  large  number 
of  paintings,  engravings,  lithographs,  etc.,  purporting  to  represent  Columbus, 
some  of  which  are  remarkable  for  their  beauty,  but  not  for  their  fidelity  as 
most  of  them  are  imaginary  pictures  :  among  them  I  will  mention  the 
engravings  by  Landon,  Fernando  Selma  (after  Maella),  Terla,  Larmesin, 
Zatta,  Bazin,  etc.,  etc. 

I  will  not  attempt  to  give  a  catalogue  of  them,  as  this  would  fill  a  volume 


74  THE  COLUMBUS  GALLERY. 

three  or  four  times  the  size  of  the  present,  and  they  are  not  deserving  of  it, 
being  in  general  only  variations  from  the  types  already  described. 

NOTE. 

ffarrissc,  Christopher  Co/unibiis  and  the  Bank  of  St.  George,  p.  108,  says: — "and  we  would 
then  possess  an  authentic  portrait  of  the  discoverer  of  America,  which  does  not  exist  anywhere,  nor 
do  I  believe  that  the  portrait  of  Columbus  was  ever  painted,  drawn  or  carved  from  the  life."  He 
further  says  that  portrait  painting  commenced  in  Spain,  at  a  later  period  than  that  of  the  Catholic 
Kings  :  this  is  an  error  as  there  are  in  existence  portraits  of  the  Catholic  Kings,  ot  the  Princes, 
ot  Xebrija  and  of  other  persons  painted  by  Rincon,  who  died  in  1500. 

Besides  Rincon,  the  following  artists  of  the  same  period  have  painted  portraits:  Juan  Nunez, 
Pedro  de  Cordova,  Juan  cle  Borgona,  Pedro  Berruguete,  Inigo  de  Comontes,  Alonso  Sanchez,  Luis 
de  Medina,  and  X.  Gallegos,  and  before  the  time  of  the  Catholic  Kings  some  portraits  were  also 
painted  by  Jorge  Ingles  and  Juan  Sanchez  de  Castro. 


STATUES,  MONUMENTS,  BASS-RELIEFS,  &c., 

IX  MEMORY 

OF  COLUMBUS. 


T  WILL  now  proceed  to  describe  the  different  monuments,  statues,  bass- 
reliefs,  &c.,  erected  in  honor  of  the  great  navigator,  commencing 
with  those  in  his  native  land  and  other  parts  of  Europe.  I  will  then 
follow  him  on  his  voyages,  and  afterwards  describe  the  memorials  in 
countries  which  he  never  visited,  concluding  with  the  United  States. 


ITALY. 


MONUMENT  AT  GENOA. — In  1846,  some  citizens  of  Genoa  organized  a  society 
for  the  purpose  of  raising  a  noble  monument  to  the  memory  of  their  greatest 
fellow-citizen.  The  idea  was  approved  by  King  Carlo  Alberto,  and  in  the 
same  year,  the  Mayor  of  the  city,  Marquis  Tommasso  Spinola  laid  the  corner 
stone  of  the  monument  in  the  presence  of  a  large  number  of  distinguished 
Italians,  at  the  Piazza  dell'  Acquaverde. 

Some  of  the  most  eminent  Italian  sculptors  submitted  plans  for  the  monu 
ment,  and  the  Academy  of  Milan  selected  that  of  the  great  master  Lorenzo 
Bartolini,  who  unfortunately  died  some  months  after.  Then  another  eminent 
artist,  Pietro  Fraccia  was  chosen  to  carry  into  execution  the  plans  of  Bartolini, 
but  he  also,  died  in  the  same  year. 

The  political  disturbances  of  the  following  years,  caused  an  almost  com 
plete  cessation  of  the  work  ;  the  promised  aid  from  the  State  and  Municipality 


76 


THE  COLUMBUS  GALLERY. 


49 — THE  MONUMENT  AT  GENOA. 


THE  COLUMBUS  GALLERY,  77 

could  not  be  given  in  consequence  of  the  demands  incident  to  the  war  for  Italian 
independence,  and  for  the  same  cause  the  popular  subscription  was  almost  a 
complete  failure.  Another  reason  was  the  necessity  of  changing  the  site  origin 
ally  chosen  for  the  monument  to  another  place  in  the  same  Square,  as  a  very 
large  railroad  depot  had  been  built  in  the  immediate  vicinity.  At  last,  thanks 
to  the  energetic  efforts  of  the  committee  presided  over  by  the  Marquis  Lorenzo 
Pareto,  the  monument  was  completed  and  dedicated  on  November  9th,  1862. 

As  this  is  up  to  the  present  time,  one  of  the  noblest  monuments  erected  to 
the  memory  of  the  great  Admiral,  I  consider  it  proper  to  give  a  detailed 
description  of  it  to  my  readers.  (Cut  ]STo.  49  ) 

The  monument  stands  in  the  Piazza  dell'  Acquaverde  :  the  base  is  a  square 
of  40  feet  on  each  side,  stands  on  three  steps,  and  has  on  each  side,  a  bronze 
inscription  in  Italian  :  on  the  front  it  reads  :  "TO  CHRISTOPHER  COLUM 
BUS,  THE  FATHERLAND,"  on  the  right  is,  "  FOUNDATION  LAID  IN 
1846,"  and  on  the  back  are  the  words,  "HAVING  DIVINED  A  WORLD, 
HE  FOUND  IT  FOR  THE  PERENNIAL  BENEFIT  OF  THE  OLD  ONE  ;  " 
"  (dimuato  un  mondo,  to  avvinsedi  perenni  benefizi  alV  antico — 1862)."  On 
the  left  is,  "THIS  MONUMENT  WAS  DEDICATED  IN  1862." 

Three  steps  from  the  top  of  the  base  and  in  the  center  of  it  rises  a  highly- 
ornamented  cylindrical  shaft,  on  the  lower  part  of  which  are  four  bass-reliefs 
representing  the  most  important  events  of  the  life  of  Columbus  : 

1.  Columbus  before  the  Council  of  Salamanca  ; 

2.  Columbus  erecting  a  cross  on  the  first  land  discovered  ; 

3.  Reception  of  Columbus  at  Barcelona,  by  the  Kings  of  Spain  on  his  re 
turn  from  the  first  voyage  ; 

4.  Columbus  in  chains,  returning  to  Spain. 

The  central  part  of  the  shaft  is  ornamented  with  beaks  of  ancient  galleys, 
and  on  the  top  is  a  colossal  statue  of  Columbus  discovering  America.  At  the 
suggestion  of  the  Spanish  government  the  lineaments  of  Columbus  in  the  statue 
were  taken  from  the  portraits  of  Jovius  and  Capriolo.  He  has  long,  flowing 
hair,  appears  to  be  about  fifty  years  of  age  and  is  dressed  in  scrupulous 
accordance  with  the  fashion  of  the  times,  in  a  short  Spanish  tabard,  and  a  large 
open  cloak  ;  his  left  hand  rests  on  an  anchor  while  his  right  is  on  the  shoulder 
of  a  figure  of  America  typified  by  a  kneeling  Indian  maiden  holding  a  cross  in 
the  right  hand. 

At  each  of  the  four  corners  of  the  base,  stands  a  smaller  square  pedestal, 
on  each  of  which  is  a  seated  statue ;  they  represent  Piety,  Science,  Constancy 
and  Prudence. 

The  whole  of  the  work  in  the  monument  is  of  great  merit,  but  hardly  any 


50— CUSTODIA  AT  GENOA. 


THE  COLUMBUS  GALLERY.  79 

portion  of  it  is  the  work  of  the  artist  to  whom  it  was  originally  assigned.  The 
grand  group  of  Columbus  and  America,  was  designed  and  commenced  by 
Bartolini ;  after  his  death  Fraccia  continued  it ;  he  also  died  and  it  was  finished 
by  the  eminent  sculptor,  Franzini  of  Carrara.  In  consequence  of  the  death  of 
the  principal  artists,  great  changes  were  made  in  the  staff.  Certoli  made  the 
statue  of  Prudence  and  the  bass-reliefs  representing  Columbus  erecting  the 
cross  ;  Vanni  the  statue  of  Piety  ;  and  the  bass-relief  of  the  Reception  at 
Barcelona  was  executed  by  Cevasco  ;  the  bass-relief  of  the  Council  of  Salamanca 
and  the  statue  of  Science,  were  the  work  of  Gaggini,  while  Revelli,  (the  artist 
of  the  monument  at  Lima),  made  the  bass-relief  of  Columbus  in  chains,  and 
Santorelli  the  statue  of  Constancy  ;  the  eight  faces  which  ornament  the  lower 
base  came  from  the  studio  of  Rocchi  in  Carrara  after  models  furnished  by 
Yanni. 

THE  CUSTODIA  OF  GENOA. — Columbus  presented  Nicolo  Oderigo  with  two 
complete  sets  of  authenticated  copies  of  his  titles,  to  be  placed  for  safe-keeping 
by  him  in  the  Bank  of  Genoa.  These  documents,  together  with  three  autograph 
letters  of  Columbus,  were  presented  to  the  city  of  Genoa,  by  Laurentio 
Oderigo,  a  descendant  of  Nicolo  Oderigo,  and  were  accepted  by  a  decree,  dated 
January  10th,  1670.  They  were  stolen  during  the  political  troubles  of  1797,  one 
passing  into  the  possession  of  Count  Cambiaso,  the  other  being  taken  to 
Paris.  The  Government  of  Genoa  secured  the  return  of  the  papers,  and  after 
their  recovery  they  were  deposited  in  the  archives  of  Genoa. 

The  Common  Council  ordered  the  erection  of  a  "Custodia"  for  the  purpose 
of  the  safety  of  these  priceless  documents,  and  Carlo  Barabino,  the  City  Arch 
itect,  was  entrusted  with  the  execution  of  the  work.  The  "Custodia''  con 
sists  of  a  truncated  column,  in  the  upper  part  of  which  is  a  receptacle,  closed 
by  a  metallic  plate  in  which  are  deposited  the  precious  relics,  which  are 
seldom  exhibited  to  the  public,  and  photographs  of  which  are  on  view.  The 
column  is  surmounted  by  a  bust  of  Columbus  ;  it  is  about  eight  feet  in  height 
and  stands  on  a  square  die.  It  bears  the  following  inscription  : 

"QUJE.  HEIC.  SUNT.  MEMBRANAS.  EPISTOLAS.  Q.  EXPENDITO. 
HIS.  PATRIAM.  IPSE.  NEMPE.  SUAM.  COLUMBUS.  APERIT.  EN. 
QUID.  MIGHT.  CREDITUM.  THESAURI.  SIET.  DECR.  DECURIONUM. 
GENUENS.  M.DCCCXXI." 

The  bust  is  the  work  of  the  sculptor  Peschiera  ;  it  is  four  feet  in  height  and 
is  remarkable  as  a  work  of  art,  the  artist  having  followed  the  descriptions  of 
the  Admiral,  with  the  exception  of  the  mouth  and  eyebrows,  which  are  some 
what  different.  (Cut  No.  50.) 

THE    GENOA    STATUE. — At   No.  19   Via   Carlo  Alberto,    near  the  Piazza 


80 


THE   COLUMBUS  GALLERY. 


Darsena,  Genoa,  Italy,  a  small  statue  of  Columbus  stands  in  a  niche,  with  the 
following  inscription  : 

"  DISSI,  VOLLI,  CREDI,  ECCO  UN  SECONDO 
SORGER  NUOVO,  BALL'  ONDE  IGNOTO  MONDO." 

The  statue  is  old  and  the  artist's  name  unknown,  but  I  have  read  that  the 
artistic  treatment  is  good,  although  it  has  no  historic  value.     In  addition  to 


,  51 — BUST  AT  PA  VIA. 

this  there  are  also  in  Genoa,  two  large  busts,  one  at  the  University,  and 
another  at  the  Royal  Palace.  They  botli  possess  great  artistic  merit,  but 
neither  of  them  has  any  particular  history. 

Another  statue  of  Columbus  has  been  erected  in  the  Red  Palace  at  Genoa, 
which  represents  him  standing  on  the  deck  of  the  Santa  Maria  behind  a  priest 


THE  COLUMBUS  GALLERY.  81 

bearing  a  cross.     The  pedestal  is  ornamented  by  prows  of  caravels,  and  on 
each  side  are  emblematic  figures  representing  Discovery  and  Industry.    . 

THE  GENIUS  OF  COLUMBUS.— STATUE  BY  VIGNOLO.—  This  splendid  work, 
which  is  of  heroic  size,  is  one  of  the  most  beautiful  ornaments  of  the  Royal 
Palace  at  Genoa. 

STATUE  IN  THE  GALLERY  VITTOKIO  EMANUELK,  MILAN. — There  are  in 
the  Gallery  Vittorio  Emanuele,  Milan,  twenty-four  statues  of  the  most  distin 
guished  Italians.  On  the  right  hand  side  of  the  gallery  of  exit,  there  is  a 
statue  of  Columbus  which  as  a  work  of  art  is  excellent,  but  as  to  resemb 
lance  is  absolutely  worthless,  and  from  descriptions  I  have  read  of  it  and 
information  imparted  to  me  by  a  most  competent  person,  it  is  purely 
imaginary. 

PAYIA  BUST. — There  is  also  in  the  University  of  Pavia,  which  it  is 
pretended  was  the  Alma  Mater  of  Columbus,  a  beautiful  colossal  marble  bust 
of  the  Discoverer.  The  hair  is  arranged  in  a  fashion  that  did  not  prevail  at 
the  time  of  Columbus  ;  the  lineaments  of  the  face  are,  however,  in  accordance 
with  the  Capriolo  and  Cancellieri  engravings.  It  is  truly  admirable  as  a  work 
of  art.  (Cut  No.  51.) 

CAPITOLINE  MUSEUM. — In  the  Capitoline  Museum  at  Rome,  there  is  a  bust 
of  Columbus  of  great  artistic  merit  but  of  no  historical  value,  as  it  is  entirely 
imaginary.  There  is  a  reproduction  of  this  bust  in  the  Hall  of  the  Historical 
Society  of  New  York. 

STATUE  BY  VINCENZO  VELA.  COLUMBUS  IN  AMERICA.  —  This  colossal 
marble  group  was  exhibited  at  the  Paris  Exposition  in  1867.  It  represents 
the  Admiral  attired  in  a  somewhat  quaint  and  cumbersome  dress,  in  the  act  of 
extending  his  hand  over  a  young  Indian  maiden  typifying  America.  I  have 
read  that  it  is  a  beautiful  work  of  art,  but  historically  worthless. 

REVELLI  STATUE. — This  group  is  nothing  more  than  a  duplicate  of  thai 
exhibited  at  the  Paris  Exposition  of  1867,  and  which  is  elsewhere  described 
as  having  been  erected  at  Lima  ;  it  is  very  well  known,  as  there  is  a 
beautiful  engraving  of  it  by  Desmaison,  which  has  had  a  wide  circulation. 
I  do  not  know  the  present  site  of  the  statue,  but  it  was  sold  at  a  high  price. 


82  THE  COLUMBUS  GALLERY. 

FRANCE. 


THE  PARIS  STATUE  — There  is  in  the  Champs  Elysees,  at  Paris,  a  statue 
by  Cordier,  which  is  much  admired  for  its  artistic  merit.  I  will  not  describe 
it  because  it  is  a  duplicate  of  the  statue,  by  the  same  artist,  surmounting  the 
monument  in  the  capital  of  the  Republic  of  Mexico. 


SPAIN. 


SEVILLE. — In  the  court-yard  of  the  old  Exchange  or  Casa  de  Contratacion 
de  las  Indias,  at  Seville,  where  the  Archives  of  the  Indies  are  deposited,  a  small 
marble  statue  of  Columbus  has  been  erected.  Its  artistic  merit  is  not  great, 
and  its  value  as  a  portrait  even  less. 

CARTUJA  OF  SEVILLE. — The  Dowager  Marchioness  of  Pickman,  has  erected 
in  the  old  building  of  the  Cartuja,  which  is  at  present  the  most  celebrated 
manufactory  of  ceramics  in  Spain,  a  monument  in  memory  of  Columbus,  over 
the  spot  where  his  remains  were  once  interred.  The  base  of  this  monument  is 
of  encaustic  tiles  manufactured  on  the  spot.  From  it  rises  a  pedestal  of 
Carrara  marble  surmounted  by  a  colossal  statue  of  the  Admiral.  He  is 
represented  with  his  right  liand  resting  on  a  globe,  placed  on  a  column,  and 
holding  a  scroll  of  parchment  in  his  left  hand.  On  the  front  of  the  monument 
is  a  memorial  slab  with  the  following  inscription  : 

A -CRISTOBAL  COLON  -  EN"  MEMORIA  DE  -  HABER  ESTADO 
DEPOSITADAS-SUS  CENIZAS  DESDE  EL  AND  MDXIII  A  MDXXXVI 
EN  LA  IGLESIA  DE  ESTA  -  CARTUJA- DE-SANTA  MARIA-DE  LAS 
CUEVAS-LA  MARQUESA  YIUDA  DE  PICKMAN  -  ERIGIO  ESTE 
MONUMENTO-EN  MDCCCLXXXVII.  The  interpretation  of  which  is  : 

To  CHRISTOPHER  COLUMBUS,  IN  MEMORY  OF  HIS  REMAINS  HAVING  BEEN 
DEPOSITED  HERE  FROM  THE  YEAR  MDXIII  TO  MDXXXVI  IN  THE  ClIURCH  OF 
THIS  CARTUJA  OF  SANTA  MARIA,  THIS  MONUMENT  HAS  BEEN  ERECTED  BY 
THE  DOWAGER  MARCHIONESS  OF  PICKMAN  IN  MDCCCLXXXVII. 

MONUMENT  AT  SALAMANCA. — At  Valcuerbo,  near  Salamanca,  Columbus 
was  entertained  by  Diego  de  Deza,  prior  of  the  great  Dominican  convent  of  San 
Esteban,  while  the  Junta  of  Spanish  ecclesiastics  considered  his  projects.  The 


THE  COLUMBUS  GALLERY.  83 

small  farm-house  still  stands  at  a  distance  of  about  three  miles  west  of  Sala 
manca,  and  there  is  a  traditiop  among  the  peasants  that  on  the  crest  of  a  small 
hill  in  the  vicinity  of  the  house,  now  called,  "  Teso  de  Colon"  (Columbus' 
Peak),  Columbus  used  to  confer  with  his  advisers  or  pass  the  time  in  solitary 
meditation.  A  monument  has  been  erected  by  the  present  owner,  Don  Martin 
de  Soils.  It  consists  of  a  stone  pyramid  surmounted  by  a  globe. 

MONUMENT  AT  GRANADA. — The  Spanish  government,  with  the  view  of 
commemorating  the  celebration  of  the  Columbus  Centennial,  ordered  the 
erection  of  a  monument  at  Granada,  in  honor  of  Isabella  and  Columbus,  thus 
uniting  two  of  the  most  important  events  in  the  history  of  Spain:  the  conquest  of 
Granada  which  ended  the  rule  of  the  Moors  in  the  Peninsula,  and  the  discovery 
of  America.  The  artist  selected  to  design  and  erect  this  splendid  monument 
was  the  young  but  famous  sculptor,  Mariano  Benlliure,  a  native  of  Valencia, 
and  whose  works  have  gained  for  him  a  great  reputation  in  the  art  world. 

The  monument  consists  of  three  parts  :  the  base,  the  pedestal,  and  the 
group  which  crowns  it.  The  base  is  of  marble  from  the  quarries  of  Sierra 
Elvira,  near  Granada,  and  consists  of  five  wide  low  steps.  On  the  center  of  this 
base  stands  the  pedestal,  which  is  a  massive,  rectangular  structure,  rich  and 
severe  in  character,  and  truly  monumental.  Its  corners  are  formed  by  four 
plain  pilasters,  with  a  capital  in  the  style  of  the  Renaissance.  On  the  sides  of 
the  pedestal  are  two  large  bass-reliefs,  one  of  which  represents  a  battle  at  Yelez 
Malaga,  and  the  other  the  signing  of  the  agreement  between  Columbus  and  the 
Catholic  Kings.  The  names  of  prominent  persons  celebrated  in  Arms,  Liter 
ature  or  the  Church,  attached  to  the  court  of  the  Catholic  Kings,  are  inscribed 
all  over  the  pedestal.  In  the  front  face  are  two  allegorical  figures  representing 
Granada  and  America,  in  the  act  of  raising  a  tapestry  covering  the  plinth,  on 
which  are  inscribed  January  2,  1492,  the  date  of  the  surrender  of  Granada, 
and  October  12,  1492,  the  date  of  the  discovery  of  America,  and  beneath  this 
are  the  names  of  the  principal  supporters  of  Columbus,  Fray  Juan  Perez, 
Cardinal  Mendoza,  Alonso  de  Qnintanilla,  Fray  Hernando  de  Talavera,  the 
Marchioness  of  Moya  and  Luis  de  Santungel. 

The  tapestry  which  falls  over  the  plinth,  reaches  to  the  top  of  the  pedestal, 
on  which  is  the  Queen  seated  on  a  magnificent  Gothic  chair,  listening  to  the 
plans  of  Columbus  who  is  standing  in  front  of  her.  The  ornamentation  of  the 
sculptures  on  the  plinth  and  the  upper  part  of  the  monument  give  it  a  beauti 
ful  appearance  and  the  figures  in  the  bass-reliefs  are  magnificently  executed. 
The  attire  of  the  figures  of  Columbus  and  Isabella  are  faithfully  copied  from 
monuments  and  descriptions.  According  to  native  critics,  the  whole  work  is 
an  honor  to  modern  Spanish  art. 


84  THE  COLUMBUS  GALLERY. 

MONUMENT  AT  HUELVA. — From  The  Centenario,  an  illustrated  review  pub 
lished  in  Madrid,  I  take  the  following  details  regarding  the  monument  recently 
erected  at  Huelva.  It  consists  of  three  parts  :  a  base,  nineteen  feet  in  height, 
terminating  in  a  spacious  platform,  to  which  access  is  obtained  by  three  well- 
proportioned  perrons,  and  from  which  a  magnificent  view  is  had  of  the  Bar  of 
Saltes,  Huelva,  Palos,  Moguer  and  the  sea.  On  this  platform  is  erected  a 
hexagonal  pedestal  seventy-three  feet  in  height,  ornamented  by  the  prows  of 
the  three  caravels  ;  on  this  pedestal  again  stands  a  column,  eighty-two  feet 
in  height,  in  the  interior  of  which  there  is  a  winding  staircase  by  means  of 
which  visitors  can  ascend  to  a  gallery  on  a  level  with  the  vessels'  prows,  and 
have  a  splendid  view  of  the  surrounding  country.  The  capital  of  the  column 
is  a  group  of  savages  which  upholds  it.  The  cornice  is  a  representation  of  the 
diadem  of  the  Catholic  Kings,  above  which  is  a  globe  fifty  feet  in  diameter, 
with  a  large  cross  as  a  finial.  On  the  equator  of  this  globe  are  inscribed  the 
names  of  Columbus  and  Isabella,  and  on  the  lower  part  of  the  column  are  the 
names  of  all  the  persons  who  cooperated  in  the  accomplishment  of  the  under 
taking  either  by  their  personal  help  or  influence.  Among  them  will  be  the 
names  of  all  the  members  of  the  crews  of  the  three  caravels  which  have  been 
handed  down  to  posterity. 

The  monument  is  of  white  marble  two  hundred  and  five  feet  in  height,  and 
was  designed  by  Ricardo  Velasquez ;  the  construction  has  been  carried  on 
under  his  supervision  by  the  able  architect,  Hernandez  Rubio.  It  stands  in 
the  center  of  a  circular  plaza,  four  hundred  and  eighty-five  feet  in  diameter 
and  two  hundred  and  seven  feet  above  the  level  of  the  sea,  profusely  orna 
mented  with  American  plants.  It  was  dedicated  on  August  3rd,  1892.  (Cut 
No.  52.) 

MONUMENT  AT  BARCELONA. — This  is  the  noblest  monument  yet  erected  to 
the  memory  of  Columbus,  and  just  as  that  at  Genoa,  is  really  deserving  of 
something  more  than  a  passing  notice. 

Barcelona  is  the  place  where  the  Catholic  Kings  received  Columbus  on  his 
return  from  his  first  voyage,   but  nobody  had  ever  thought  of  erecting  a 
memorial  to  him  there,  until  1856,  when  a  public-spirited  Catalonian,  Antonio 
Fajas,  proposed  to  organize  a  general  subscription  for  raising  the  funds  required 
to  defray  the  cost  of  the  monument. 

The  projector  was  neither  an  artist  nor  even  an  educated  man  ;  he  was 
simply  a  shoemaker,  who  having  found  that  his  trade  was  not  lucrative  enough 
for  his  ambition,  enlisted  in  the  army,  and  was  sent  to  Cuba  ;  after  having 
obtained  his  discharge,  he  embaiked  in  business  and  made  a  great  fortune, 
which  soon  after  his  return  to  Barcelona,  lie  lost  in  a  banking  venture  ;  he 


THE  COLUMBUS  GALLERY. 


85 


52 — MONUMENT  AT  HUELVA. 


86  THE  COLUMBUS  GALLERY. 

left  his  country  once  more  and  commenced  to  work  anew.  He  made  another 
fortune  and  then  returned  to  Barcelona,  where  he  settled  for  good,  always 
taking  a  lively  interest  in  any  scheme  which  he  considered  likely  to  further 
the  glory  and  beauty  of  his  native  city. 

He  had  always  been  an  enthusiastic  admirer  of  Columbus  and  in  1856,  he 
proposed  to  the  Municipal  Council  of  his  city,  the  erection  of  a  great  memorial 
to  the  Discoverer,  to  be  entirely  the  work  of  Catalonian  artists  ;  but  in  conse 
quence  of  political  troubles  very  little  attention  was  paid  to  his  project.  At 
last,  in  1872,  he  found  an  enthusiastic  supporter  in  the  Mayor  of  the  city, 
Kius  y  Taulet.  Unforeseen  obstacles  prevented  the  carrying  out  of  the  work, 
notwithstanding  a  competition  had  been  opened  and  proposals  submitted.  In 
1881,  Mr.  Rius  y  Taulet  was  again  elected  Mayor  of  Barcelona,  and  urged  by 
Fajas,  he  took  the  project  in  hand  and  opened  a  public  subscription  to  defray 
the  expenses.  The  sum  of  $200,000  was  required  and  the  greater  part  of  it 
was  raised  in  four  years  ;  the  deficit,  $24,000,  was  covered  by  the  Provincial 
Deputation  of  Barcelona,  which  contributed  $14,000,  and  by  the  Municipality 
of  the  same  city,  which  donated  $10,000. 

Spanish  artists  exclusively,  were  invited  to  compete.  Twenty-eight  artists 
presented  their  designs  and  reports  and  the  first  prize  was  awarded  to  Mr. 
Cayetano  Buigas  Monraba,  a  distinguished  Catalonian  architect,  who  was 
charged  with  the  direction  of  the  work.  The  corner-stone  was  laid  on  Sept. 
28th,  1882.  Six  years  were  required  for  the  completion  of  the  work,  which 
was  dedicated  with  great  solemnity  and  in  the  presence  of  an  immense  con 
course  of  people  on  the  first  day  of  June,  1888.  (Cut  No.  53.) 

Seven  Spanish  and  forty-nine  foreign  men-of-war,  belonging  to  the  American, 
Austrian,  British,  Dutch,  French,  German,  Italian,  Portuguese  and  Russian 
Navies  participated  in  the  dedication  of  this  monument.  The  Queen- Regent 
of  Spain  with  the  royal  family  and  a  large  number  of  prominent  citizens  assisted 
at  the  ceremonies. 

Buigas  called  to  his  aid  a  galaxy  of  distinguished  Catalonian  artists,  and 
apportioned  the  different  parts  of  the  work  among  them,  using  the  greatest 
discretion  in  the  selection  of  the  men  who  were  to  realize  his  conceptions. 

In  giving  a  description  of  this  truly  majestic  monument,  I  will  divide  it 
into  five  parts  : 

1.  The  Substructure  or  Stylobate  ;  2.  The  Base  ;  3.  The  Pedestal  ;  4.  The 
Column  ;  5.  The  Statue. 

The  stylobate  is  in  the  form  of  a  circle  sixty-six  feet  in  diameter,  and  is 
built  of  freestone ;  it  is  about  four  feet  above  the  level  of  the  Square ;  it  is 
broken  by  four  staircases  twenty  feet  wide,  each  flanked  by  two  lions,  one 


THE  COLUMBUS  GALLERY 


87 


53— MONUMENT  AT  BAKCELONA. 


88  THE  COLUMBUS  GALLERY. 

standing  and  one  couchant.  These  eight  magnificent  and  gigantic  lions  are 
cast  in  bronze  by  the  eminent  master  Vallmitjana,  a  son  and  able  disciple 
of  Venancio  Yallmitjana,  the  sculptor  of  the  beautiful  statue  of  "Columbus 
in  Chains." 

2.  The  Base. — On  this  stylobate  rises  the  base  in  the  form  of  a  truncated 
cone.  It  is  about  thirteen  feet  high  by  fifty -nine  feet  in  diameter  at  the  foot. 
It  is  built  of  enormous  ashlers  from  the  quarries  of  'Monjuich.  Embedded  in 
its  sides  there  are  eight  bronze  high  reliefs  representing  the  most  important 
incidents  in  the  career  of  the  Admiral : 

1.  Arrival  of  Columbus  at  the  Convent  of  La  Rabida  ; 

2.  Conference  at  Salamanca  ; 

3.  Presentation  of  Columbus  to  the  Catholic  Kings  at  Cordova  ; 

4.  Conference  of  Columbus  and  the  Catholic  Kings  at  Santa  Fe  ; 

5.  Embarkation  at  Palos  ; 

6.  Landing  at  Guanahani  ; 

7.  Columbus  taking   possession  of  the  New    World  in  the  name  of  the 
Catholic  Kings  ; 

8.  Reception  of  Columbus  at  Barcelona  by  the  Catholic  Kings. 

These  high-reliefs  are  the  work  of  the  renowned  artists,  Llimosa  and  Pastor. 
Alternating  with  the  high-reliefs  are  the  bronze  coats  of  arms  of  the  different 
nations,  which  by  their  union  constituted  the  Spanish  Kingdom. 

3.  The  Pedestal. — The  beautiful   pedestal  is   entirely  allegorical  of  the 
persons  who  helped  Columbus  in  his  enterprise.     It  is  in  the  form  of  a  cross 
inserted  in  a  polygon  of  eight  sides,  of  which  four  are  projecting.    In  the  faces 
there  are  eight  large  bronze  medallions  representing  the  following  persons  : 
Ferdinand,   Isabella,   Fray  Juan  Perez,    Fr.  Antonio  de  Marchena,  Vicente 
Pinzon,  Martin  Alonso  Pinzon,  the  Marquise  de  Moya,  and  Andres  Cabrera. 
In  front  of  the  receding  sides  stand  four  colossal  groups  in  bronze :    1.  The 
Treasurer,  Santangel,  accompanied  by  a  page  to  whom  he  hands  a  casket,  (by 
Ganot}.     2.  The  cosmographer,  Jaime  de  Blanes,  with  a  page  supporting  a 
globe,  {by  Page's).     3.  Captain  Pedro  Margarit  triumphing  over  an  Indian,  (by 
Alentorn).     4.  Father  Boyl  preaching  to  an  Indian  kneeling  before  nim,  (by 
Fuxd).     It  is  a  very  curious  fact  that  among  the  four  persons  honored  in 
these  groups  are  two  of  the  most  inveterate  enemies  of  Columbus,  Captain 
Margarit  and  Father  Boyl.     A  little  higher  up,  alternating  with  these  groups 
and  in  the  abutting  sides  of  the  cross,   are  four  splendid,   colossal,   seated 
bronze  statues,  representing  Catalonia  by  Carbonell,  Aragon  by  Ganot,  Castille 
by  Carcasso,  and  Leon  by  Atche. 

4.  The  Column,   which  is  a  beautiful  and  original  conception,  stands   on 


THE  COLUMBUS  GALLERY. 


89 


54 — STATUE  ON  THE  BARCELONA  MONUMENT. 


90  THE  COLUMBUS  GALLERY. 

this  pedestal.  It  is  a  magnificent  shaft  of  cast  iron  which  at  a  distance  seems 
to  belong  to  the  Corinthian  order,  but  the  capital  is  something  completely 
different,  as  will  be  seen  hereinafter.  The  shaft  weighs  thirty-two  tons  without 
the  capital  and  was  cast  by  Wohlgemuth.  At  the  foot  of  the  column  are  four 
beautiful  winged  figures  of  Fame  holding  a  wreath  of  laurel  in  each  hand  and 
proclaimimg  the  glory  of  Columbus.  They  are  the  work  of  the  distinguished 
sculptor,  Rosendo  Nobas.  At  about  one-third  of  the  height  of  the  column  is 
a  large  medallion  with  the  words,  "  BARCELONA  A  COLON."  The  capital 
is  a  magnificent  piece  of  work.  Europe,  Asia,  Africa,  and  America  are 
represented  allegorically  as  doing  homage  to  Columbus,  and  by  their  side  is 
the  coat  of  arms  granted  to  the  Admiral  by  the  Catholic  Kings. 

The  capital  is  surmounted  by  the  princely  crown  of  Catalonia,  and  the 
crest  of  the  crown  is  formed  by  a  hemisphere  allegorical  of  the  Discovery. 
Around  the  crown  there  is  a  balcony  to  which  visitors  are  carried  by  an  elevator 
which  runs  in  the  column.  The  capital  is  all  of  bronze,  and  a  part  of  it  is  cast 
from  the  thirty  tons  of  old  bronze  presented  for  this  purpose  by  the  Spanish 
government  to  the  City  of  Barcelona.  The  capital  as  well  as  the  crown  and 
hemisphere  are  the  work  of  the  eminent  artist,  Pastor. 

On  this  capital,  rises  the  magnificent  statue  of  the  Admiral,  the  work  of  the 
illustrious  sculptor,  Atcbe,  to  whom  it  was  awarded  in  a  competition  with 
the  no  less  illustrious  Arallmitjana.  It  stands  on  a  round  socle,  on  which  is 
inscribed  the  word,  "TIERRA,"  ("LAND,")  and  represents  the  Admiral  at 
the  moment  of  descrying  land  in  the  far  distance,  pointing  to  it  with  the  right 
hand  and  holding  in  the  left  a  chart  or  parchment.  The  position  is  strikingly 
majestic  with  the  right  foot  advanced  and  resting  on  the  left.  He  is  represented 
as  simply  but  richly  attired  as  Admiral  of  the  Indies  in  court  dress,  and  exactly 
in  accordance  with  the  fashion  of  his  times.  His  uncovered  head  is  of  the 
Jovian  type,  softened,  with  long  hair  fiowing  over  the  shoulders.  The  engraving 
of  the  monument  is  copied  from  a  beautiful  photograph  which  I  owe  to  the 
kindness  of  my  friend,  the  distinguished  writer,  Mr.  Arturo  Cuyas,  and  the 
engraving  representing  the  statue  as  also  the  full  history  and  description  and 
many  illustrations  of  the  monument  are  found  in  the  llustracion  of  Barcelona, 
(Sept.  23rd,  1888),  and  the  llustracion  of  Madrid,  (Sept.  22nd,  1888),  which 
have  been  kindly  placed  at  my  disposal  by  the  able  artist,  Mr.  Juan  Romeu  y 
Sola  ;  both  are  Catalonians,  and  highly  esteemed  residents  of  this  city. 

The  statue  is  also  of  bronze  and  measures  eight  metres  (26"  31  English 
measurement).  It  was  cast  in  two  halves  by  Vidal  at  a  very  large  cost,  and 
after  five  months  of  constant  toil,  but  with  the  most  complete  success. 

The  height  of  the  whole  monument  from  the  level  of  the  famous  Rambla, 


THE  COLUMBUS  GALLERY 


55 — STATUE  BY  SA1ST  MARTIN  AT  MADRID. 


92  THE  COLUMBUS  GALLERY. 

of  Barcelona,  where  it  stands  to  the  top  of  the  statue,  is  57.  20  metres,  equivalent 
to  about  187£  English  feet. 

The  monument  is  entirely  Spanish  ;  it  was  raised  with  Spanish  money 
exclusively,  to  such  a  degree,  that  the  President  of  the  United  States  and  the 
King  of  Italy,  having  expressed  a  desire  to  take  part  in  the  subscription, 
their  offers  were  politely  declined.  The  iron,  steel,  bronze,  stone  and  lime 
employed  in  its  construction  are  all  Spanish,  and  the  conception,  direction 
and  handiwork  of  every  one  of  its  parts  is  not  only  all  Spanish,  but  exclusively 
Catalonian.  Undoubtedly,  Barcelona  has  a  right  to  boast  of  having  erected 
in  honor  of  the  great  Admiral,  the  most  beautiful,  noble,  rich  and  artistic  of 
all  the  memorials  yet  raised  by  human  hands  in  memory  of  Columbus,  as  those 
of  Genoa,  Madrid,  Mexico  and  New  York,  cannot  for  a  moment  bear  com 
parison  with  that  of  the  capital  of  the  Principality  of  Catalonia. 

MADRID.  STATUE  BY  SAN  MARTIN. — In  the  Court  of  die  Colonial  Office 
(Ministerio  de  Ultramar),  at  Madrid,  a  colossal  statue  of  Columbus  has  been 
erected.  It  is  the  work  of  the  famous  Spanish  sculptor  Jose  San  Martin,  a  disciple 
of  Ponciano  Ponzano,  and  is  one  of  the  most  beautiful  statues  of  Columbus. 
Added  to  its  great  artistic  merit  is  the  closeness  with  which  the  descriptions  of 
Columbus  have  been  followed,  and  the  accuracy  of  the  details  of  the  dress. 
Columbus  is  represented  in  the  costume  of  Admiral  of  the  Indies,  carrying 
the  standard  of  Castile  ;  behind  him  is  a  globe.  The  features  of  the  statue  are 
very  much  like  the  portrait  at  the  Naval  Museum,  and  reproductions  have 
frequently  been  made  in  reduced  size  for  different  localities  in  Spain  and 
Spanish  America.  (See  cut  No.  55.) 

NAVAL  MUSEUM.  MADRID. — The  second  saloon  of  the  Naval  Museum  at 
Madrid  bears  the  name  of  Sala  de  Colon  (Columbus  Hall),  a  large  bust  of  the 
Admiral  is  its  principal  ornament,  but  according  to  what  I  have  been  told,  it 
is  a  work  of  very  indifferent  merit,  from  a  historical  point  of  view,  as  it  is 
entirely  imaginary,  though  as  a  work  of  art  it  is  very  effective. 

THE  MONUMENT  IN  MADRID. — I  translate  from  The  Centenario  of  Madrid, 
the  following  description  of  the  monument  to  the  Discoverer,  erected  there : 

"  In  commemoration  of  so  conspicuous  an  event  as  the  marriage  of  the 
never-to-be-forgotten  King  Alphonso  XII.,  to  Maria  Christina,  the  present 
Queen-Regent  of  Spain,  the  Spanish  nobility  determined  to  start  a  subscription 
for  the  purpose  of  erecting  a  monument  at  this  Court,  to  the  glorious  discoverer 
of  the  New  World.  In  the  competition  opened  for  the  purpose  of  carrying 
out  this  project,  the  famous  artist  Arturo  Melida,  submitted  a  design  which 
strongly  attracted  public  attention,  on  account  of  the  originality  of  the  concep 
tion,  as  he  proposed  that  the  memorial  should  assume  the  form  of  a  vessel. 


56 — MONUMENT  AT  MADRID. 


93 


94  THE  COLUMBUS  GALLERY. 

No  award  having  been  made  in  the  first  competition,  a  second  was  opened  in 
which  the  conditions  of  the  work  were  set  forth  very  explicitly,  and  the 
specifications  under  which  the  monument  should  be  constructed,  and  exacting 
among  some  others  as  an  essential  one,  that  it  should  consist  of  a  pillar  with  a 
base.  In  this  second  competition,  Mr.  Melida  again  took  part,  and  to  him  was 
awarded  the  prize,  namely  :  the  execution  of  the  work. 

"  The  material  of  the  monument  is  Novelda  stone,  and  it  stands  in  the  center 
of  a  square  named  after  the  immortal  Genoese.  It  is  composed  of  two  parts:  a 
square  base  with  an  octagonal  pillar,  which  is  surmounted  by  a  statue  of 
Italian  marble,  one  of  the  masterpieces  of  the  famous  sculptor,  Jeronimo 
Sunol.  The  base  is  enriched  with  allegories,  detached  statues  and  other  details, 
which  are  in  the  best  artistic  taste. 

"  The  high-reliefs  which  adorn  the  four  faces  are  of  excellent  design,  and  of 
exquisite  workmanship.  The  one  in  the  front  represents  the  famous  vessel, 
the  Santa  Maria  ;  on  the  deck  of  the  historical  ship  is  seen  a  hemisphere  with 
the  new  continent,  and  a  band  on  which  is  inscribed  in  monachal  characters, 
the  motto:  'FOR  CASTILLA,  Y  FOR  LEON,  NUEA'O  MUNDO  HALLO 
COLON.'  The  high-relief  on  the  north  side  shows  the  image  of  Our  Lady  of 
the  Pillar,  with  the  ever  memorable  date  of  the  discovery  of  America,  12  de 
Octubre  de  1492,  at  her  feet,  and  the  names  of  the  intrepid  Spaniards  who 
followed  Columbus  in  his  marvellous  enterprise.  On  the  eastern  face  is 
depicted  the  touching  scene  of  the  offer  of  her  jewels  made  by  Isabella  I.,  for 
the  purpose  of  raising  funds  for  the  forsaken  and  daring  navigator  ;  while  on 
the  western  one  is  a  representation  of  the  conference  at  which  Columbus 
revealed  his  adventurous  plans  to  Father  Deza. 

"  Four  heralds  or  kings-at-arms,  of  life  size,  and  wearing  emblazoned 
dalmatics,  stand  at  the  angles  of  the  base,  on  addorsed  pillars,  under  elegant 
canopies  consisting  of  small  groined  vaults,  carved  in  the  form  of  polygonal 
capitals,  surrounded  by  festooned,  pendant  arches,  and  crowned  by  pinnacles. 
Above  this,  is  a  circular  arcade,  between  the  columns  of  which  are  seen  four 
coats  of  arms  of  Spain,  supported  by  the  eagle  of  St.  John  the  Evangelist  ; 
above  this  part,  rises  a  pillar  ornamented  by  beautiful  mouldings  on  which  is 
the  figure  of  Columbus,  standing  in  a  stately  attitude,  holding  the  standard  of 
Castile  in  his  right  hand.  The  monument  is  surrounded  by  an  iron  railing 
and  stands  in  the  center  of  a  garden. 

"The  style  of  this  remarkable  work  is  Gothic  of  the  third  period,  better 
known  as  the  florid  or  flamboyant.  This  name  originated  from  the  filling  of 
the  open  spaces  with  fanciful  traceries,  imitating  the  fibres  of  leaves  with  small 
interlaced  columns  and  arches  forming  undulations.  The  style  cannot  be  more 


THE  COLUMBUS  GALLERY.  95 

characteristic,  or  recall  to  us  more  perfectly,  the  taste  which  prevailed  at  the 
time  of  the  Catholic  Kings. 

"  The  entire  monument,  with  the  exception  of  the  statue,  which  is  the  work 
of  Mr.  Sufiol,  is  the  original  design  of  Mr.  Melida,  which  in  this  case  as  on 
every  former  occasion,  when  his  artistic  talent  has  been  put  to  the  test,  has 
added  a  fresh  leaf  to  his  glorious  crown,  especially  showing  his  profound 
knowledge,  and  endorsing  the  good  judgment  of  those  who  entrusted  him  with 
the  direction  of  the  work  of  restoration  in  San  Juan  de  los  Reyes." 

I  will  further  add  that  the  statue  is  worthy  of  more  than  such  a  passing 
notice.  It  represents  the  Admiral  —  as  has  already  been  stated  —  standing 
beside  a  capstan  on  which  there  is  a  globe,  and  holding  the  standard  of  Castile 
in  his  right  hand,  while  he  extends  the  left,  and  raises  his  head  as  if  in  the 
act  of  thanking  Heaven  for  his  glorious  victory. 

The  details  of  the  statue  are  excellent  ;  the  features  being  in  exact 
accordance  with  the  historical  descriptions,  and  appear  to  have  been  taken 
from  the  picture  in  the  Naval  Museum  at  Madrid.  The  material  of  the  statue 
is  white  Carrara  marble,  and  it  is  14  feet  in  height.  I  will  state  in  conclusion 
that  according  to  the  photograph  by  Laurent,  in  my  possession,  the  coat  of 
arms  of  Columbus  is  beneath  the  globe,  and  the  inscription  reads:  "A 
CASTILLA  Y  A  LEON,  NUEVO  MUNDO  Dl6  COLON,"  instead  of  "  FOR 
CASTILLA  Y  FOR  LEON,  NUEVO  MUNDO  HALLO  COLON,"  as  is 
stated  in  the  article  I  have  translated. 


WATLING'S   ISLAND. 


In  1891,  an  expedition  was  sent  out  by  the  Chicago  Herald  to  find  the 
landing-place  of  Columbus.     After  very  careful  investigation  and  inquiry,  the 
party  erected  a  monument  fifteen  feet  high  on  Watling's  Island,  which  bears 
the  following  inscription  : 
ON  THIS  SPOT  CHRISTOPHER  COLUMBUS  FIRST  SET  FOOT  ON 

THE  SOIL  OF  THE  NEW  WORLD. 

ERECTED  BY  THE  CHICAGO  HERALD 

JUNE  15,  1691. 


90  THE  COLUMBUS  GALLERY. 


NASSAU 


STATUE  AT  NASSAU. — In  front  of  the  Government  House  at  Nassau,  Bahama 
Islands,  is  a  statue  of  Christopher  Columbus.  It  is  nine  feet  high  and  stands 
on  a  six  foot  pedestal,  on  the  north  face  of  which  is  inscribed  : 

COLUMBUS,  1492. 

It  was  a  gift  to  the  colony,  by  Sir  James  Carmichael  Smyth,  Governor  of 
the  Bahamas  from  1829-1833,  was  modeled  in  London  in  1831,  is  of  metal 
painted  white,  and  was  erected  in  May,  1832.  According  to  the  opinion  of 
some  friends  who  have  seen  it,  it  has  neither  artistic  nor  historic  value. 


CUBA. 


STATUE  ix  THE  COURT- YARD  OF  THE  CAPTAIN-GENERAL'S  PALACE  AT 
HAVANA. -There  is  in  the  court  yard  of  the  Captain-General's  Palace  at  Havana, 
a  large  marble  statue  of  Columbus  (cut  No.  57),  which  is  the  work  of  the  well- 
known  sculptor,  Garbeille.  He  has  taken  as  his  model,  the  picture  in  the  Naval 
Museum  at  Madrid.  The  statue,  which  is  not  lacking  in  artistic  merit,  formerly 
stood  in  the  center  of  the  Park  at  Havana.  It  occupied  the  site  of  the  statue 
of  Isabella  II.,  which  was  removed  after  the  revolution  of  September,  1868. 
On  the  return  of  the  Bourbons  to  Spain,  this  statue,  which  is  the  work  of  the 
same  artist,  was  restored  to  its  former  place  in  the  Park,  and  that  of  Columbus 
was  relegated  to  the  court-yard  of  the  Captain  General's  Palace,  which  is  the 
worst  position,  from  an  artistic  point  of  view,  which  could  have  been  chosen, 
as  it  is  surrounded  by  walls  and  trees  and  is  almost  in  front  of  the  stables. 

STATUE  IN  THE  TEMPLETE. — In  the  city  of  Havana,  there  is  a  small,  tasteful 
building  erected  in  commemoration  of  the  first  mass  said  in  Havana,  in  1517 ; 
this  building  is  known  as  the  Templete.  There  is  in  it  a  marble  bust  of  the 
Admiral,  which  occupies  a  small  niche.  It  is  the  gift  of  the  famous  and 
venerated  Bishop,  Jose  Diaz  Espada  y  Landa.  The  bust  was  placed  there  in 
182S,  but  I  have  not  been  able  to  learn  the  name  of  the  artist,  and  I  have  not 


THE  COLUMBUS  GALLERY. 


57— STATUE  AT  HAVANA. 


98  THE  COLUMBUS  GALLERY. 

taken  great  interest  in  it.  It  lias  absolutely  no  merit  either  artistic  or  historic.  It 
is  surrounded  by  an  iron  railing  and  looks  as  is  generally  remarked  in  Havana, 
as  if  the  Admiral  were  there  in  prison. 

VALLMITJANA.  STATUE  OF  COLUMBUS  IN  CHAINS.  HAVANA,  SOCIEDAD 
ECONOMICA. — This  beautiful  work,  by  the  most  distinguished  of  modern 
Spanish  sculptors,  is  only  a  model  in  clay.  It  was  bought  by  the  patriotic 
Cuban  Deputy,  Gabriel  Millet,  and  presented  by  him  to  the  Sociedad  Economica 
of  Havana,  a  Society  which  has  always  been  foremost  in  all  matters  tending 
to  promote  the  welfare  and  progress  of  the  Island  of  Cuba.  (Cut  58.) 

It  represents  Columbus  as  a  man  of  sixty  years  of  age  ;  the  head  is  superb 
in  sentiment  and  expression.  He  is  seated  on  a  coil  of  rope  on  the  deck  of  the 
ship,  which  is  carrying  him  to  Spain  in  chains,  over  that  same  Sea  of  Darkness, 
which  he  had  unveiled.  He  reclines  against  a  capstan,  in  an  attitude  which 
shows  his  fetters.  Notwithstanding  the  fact  that  capstans  of  that  form  were 
not  known  at  the  time,  the  slight  anachronism  only  adds  to  the  general  beauti 
ful  effect  of  the  work.  His  features  agree  with  the  description  left  by  his 
contemporaries.  The  expression  of  the  face  is  a  sublime  combination  of 
suffering,  melancholy  and  resignation.  A  profound  knowledge  of  anatomy  is 
shown  in  the  details  of  the  emaciated  face  and  hands.  The  inscription  on  the 
base  is  as  follows  : 

CRISTOBAL  COLON, 

FOR  EL  ESCULTOR  ESPAXOL,  D.  V.  VALLMITJANA, 

DONADO  A  LA  REAL  SOCIEDAD  ECONOMICA  DE  LA  HABANA, 

FOR  DON  GABRIEL  MILLET, 

1881. 

HAVANA  MONUMENT. — A  monument  in  the  memory  of  Columbus  is  being 
erected  at  Havana,  Cuba.  The  most  striking  feature  of  which  is  a  terrestrial 
globe  encircled  by  a  band,  on  which  are  the  words,  "  Nonplus  ultra"  which, 
as  is  well  known,  was  the  motto  of  Spain  at  the  time  of  the  discovery.  Beneath 
this  globe  is  a  lion  tearing  off  the  three  first  letters  with  a  blow  of  his  paw, 
representing  the  negative  idea,  showing  by  this  allegory  that  there  is  a  "  Plus 
ultra"  as  evidenced  by  the  discovery  of  a  New  World.  (Cut  No.  59.) 

The  globe  stands  on  a  truncated  pyramid,  resting  on  a  quadrangular  base, 
flanked  by  four  statues  standing  at  the  four  salient  sides.  These  statues 
represent  Courage,  Study,  History  and  Navigation.  To  this  last  figure,  a  child 
is  presenting  a  compass.  On  each  of  the  panels  is  a  bass-relief  representing  a 
notable  event  in  the  history  of  the  discovery. 

The  first  of  these  bass-reliefs  shows  the  cell  of  Father  Juan  Perez  in  the 
Convent  of  the  Rabida,  in  which  Columbus  is  depicted  as  explaining  his  plans 


THE  COLUMBUS  GALLERY. 


99 


THE  COLUMBUS  GALLERY. 

to  the  Franciscan  Prior,  to  Garci  Fernandez  and  to  other  monks  of  the  Convent. 
The  second  represents  the  departure  of  Columbus  ;  he  stands  in  the  center, 
receiving  the  benediction  of  the  friendly  Prior.  The  third  is  a  graphic  picture 
of  the  landing  at  San  Salvador,  the  Admiral  standing  in  the  center,  his 


59 — MONUMENT  AT  HAVANA. 


followers  kneeling  at  his  feet,  kissing  his  hands  and  the  hem  of  his  robe,  and 
asking  his  pardon;  the  fourth  is  the  reception  of  Columbus  at  Barcelona  by 
the  Catholic  Kings,  in  which  Ferdinand  is  rising  to  receive  the  Admiral  and 
his  suite,  two  members  of  which  are  Indians,  male  and  female.  The  four  bass- 


THE  COLUMBUS  GALLERY. 


101 


reliefs  are  of  beautiful  design.  On  the  side  opposite  to  that  on^vuiorrtU<2  Iso.a 
is  shown  tearing  off  the  word  u  non,"  an  eagle  with  open  wings  displays  the 
escutcheon  of  the  Spanish  nation,  then  in  use. 

On  another  of  the  sides  of  the  pyramid,  is  an  artistic  medallion  with  the 
busts  of  the  Catholic  Kings  resting  on  one  of  the  wings  of  the  eagle,  and  on 


60— TOMB  IN  THE  CATHEDRAL  AT  HAVANA. 

the  opposite  side  is  a  medallion  representing  the  sail  of  a  ship,  with  the  standard 
of  the  Holy  Virgin  and  Child. 

Another  nautical  design  is  on  the  top  of  the  monument  showing  a  barge 
battered  by   the  winds  and  waves,  surmounting  the  globe.      On  this  barge 


T02  THE  COLUMBUS  GALLKRY. 

BtaAds,  'P^i«tli,:'giiigling  Christopher  Columbus,  as  a  symbol  that  the  New  World 
has  "been  discovered  under  the  ccgis  of  the  Cross. 

The  sculptor,  Antonio  Susillo,  though  still  a  young  man,  is  one  of  the  most 
famous  Spanish  artists.  His  model  obtained  the  first  prize  in  the  competition 
for  the  design  for  this  monument,  and  he  will  receive  $100,000  for  building  it 
in  accordance  with  his  plans.  It  is  60  feet  high  and  is  now  in  course  of 
construction.  It  will  be  erected  on  a  most  beautiful  site  in  the  Capital  of 
Cuba,  in  the  Park  opposite  the  Tacon  Theatre. 

All  these  statues  and  bass-reliefs  will  be  of  bronze  ;  the  monument  will  be 
fifty-two  and  a  half  feet  in  height  ;  the  group  on  the  top  will  be  twenty-three 
feet ;  the  lion  twelve  feet,  the  eagle  twelve  feet ;  the  four  bass-reliefs  ten  feet  in 
length,  and  the  four  statues  which  are  all  seated,  will  be  ten  feet  each  in  height. 

THE  NEW  SEPULCHRE  OF  COLUMBUS  IN  THE  CATHEDKAL  OF  HAVANA.— 
This  is  in  actual  course  of  construction  in  Spain.  The  originator  of  the  project 
and  director  of  the  work  is  Mr.  Arthur  Mclida,  a  very  celebrated  Spanish 
sculptor.  (Cut  No.  60.) 

The  monument  will  be  of  bronze  and  marble  ;  the  base  is  composed  of 
enormous  ashlers  of  gray  marble  from  the  quarries  of  Alconera,  on  which  will 
be  a  plinth  of  black  Belgian  marble,  consisting  of  five  pieces. 

Four  heralds  dressed  in  full  court  mourning  upbear  the  sarcophagus  ;  they 
bear  respectively  the  arms  of  Castile,  Leon,  Aragon,  and  Navarre,  the  four 
nations  which  united  under  the  rule  of  Ferdinand  and  Isabella,  constituted  the 
kingdom  of  Spain. 

The  sarcophagus  is  of  bronze,  ornamented  with  enamelled  metallic  plates, 
and  in  it  will  be  placed  the  pretended  remains  of  Columbus  now  at  Havana. 

THE  HAVANA  HIGH-RELIEF. — A  large  marble  slab  on  the  right  hand  side 
of  the  Presbytery  in  the  Cathedral  at  Havana,  marks  the  resting  place  of  the 
supposed  remains  of  Columbus,  brought  there  on  board  of  the  ship  of  the  line, 
the  "San  Lorenzo,"  on  the  15th  of  February,  1796,  by  Gen.  Aristizaval. 

It  represents  Columbus  in  armor  with  a  ruff  and  holding  a  globe.  It  strongly 
resembles  the  Claderaand  Munoz  pictures,  and  as  stated  elsewhere  in  this  work 
is  almost  an  exact  copy  of  the  Vasquez  engraving  (q.  v.)  (Cut  No.  61.) 

The  execution  of  the  high-relief  is  beautiful.  It  is  a  half-length  in  an  oval 
frame  ;  on  the  upper  part  is  a  garland  of  laurel  and  oak  leaves.  In  a  square 
beneath  the  medallion  are  carved  a  number  of  nautical  emblems,  and  above 
this  on  a  smaller  slab  is  the  following  inscription  :  O  !  RESTOS  E  IMAGEN 
DEL  GRANDE  COLON -MIL  SIGLOS  DURAD  GUARDADAS  EN  LA 
URNA-Y  EN  LA  REMEMBRANZA  DE  NUESTRA  NACION  !-  the  tran 
slation  of  which  is :-  Oh  1  Remains  and  Image  of  Great  Columbus,  Rest  in 


THE  COLUMBUS  GALLERY. 


103 


Peace  for  a  Thousand  Centuries  in  this  Urn  and  in  the  Remembrance  of  our 
Nation  ! 

The  supposed  remains  are  in  a  niche  behind  the  slab,  and  on  the  metallic 
receptacle  enclosing  them  is  the  following  Latin  epitaph  composed  by  Bishop 


Colon! 
9os  fa,  (a. 
f/e  •nuestra  Styacion 


61 — HIGH  RELIEF — CATHEDRAL,   HAVANA. 

Tres  Palacios  :-D.  0.  M.-CLARIS.  HEROS  LIGUSTIN.-CHRISTOPHORIJS 
COLUMBUS-  A  SE,  REI  NAUTIC.  SCIENT.  INSIGN.-NOV.  ORB.  DE 
TECT.-  ATQUE  CASTELL.  ET  LEGION.  REGIB.  SUBJECT.-  VALLISOL. 
OCCUB.-  XIII  KAL.  JUN.  A.  MDVI-CARTUSTANOR.  HISPAL.-CADAV. 


104  THE  COLUMBUS  GALLERY. 

CUSTOD.  TRADIT.- TRANSFER.  NAM  IPSE  PRESCRIPT- IN  HISPA- 
NIOL^E  METROP.  ECC.  KING  PACE  SANCIT.  GALLING  REIPUBLC^E 
SESS.-IN  HANG  Y.MAR.  CONCEPT.  IMM.  GATE.  OSSA  TRANS.-MAXIM. 
OM.  ORD.  FREQUENT.  SEPULT.  HAND  -XYKAL.  FEB.  A.  MDCCXCYI. 
-HAY AN.  CIYIT-TANT.  YIR.  MERITOR.  IX  SE  NON.  IMMEM.  EXUY. 
IN  OPTAT.  DIEM  TUITUR-  HOCCE  MONUM.  EREX.-  PRESUL.  ILL.  D. 
D.  PHILIPPO  JPH.  TRES  PALACIOS-  CIVIC.  AC  MILITAR.  REI.  GEN. 
PR^EF.  EXMO.-  D.  D.  LUDOYICO  DE  LAS  CASAS.-  The  translation  of 
this  is  :-  "D.  0.  M.  The  Illustrious  Genoese  Hero  Christopher  Columbus, 
Renowned  For  His  Nautical  Knowledge,  By  Himself  Discovered  a  New  World 
And  Gave  It  To  The  Kings  Of  Castille  And  Leon-  Died  at  Valladolid  In  The 
Year  MDYI,  The  Body  Being  Entrusted  To  The  Care  Of  the  Carthusians  Of 
Seville,  Was  Transferred  As  He  Himself  Prescribed,  To  The  Metropolitan 
Church  Of  Hispaniola-  Hence  Peace  Being  Concluded  And  The  Island  Ceded 
To  France.-  The  Frequently  Buried  Remains  Were  Given  Burial  In  The  Pres 
ence  Of  An  Immense  Concourse  Of  All  Classes,  On  The  Kalends  Of  The  XVth 
Of  February  In  The  Year  MDCCXCYI.-  The  City  Of  Havana  Unwilling  That 
So  Great  ^nd  Meritorious  a  Man  Should  Be  Forgotten  And  To  Guard  His 
Precious  Remains  On  This  Auspicious  Day  Erects  This  Monument." 

The  Most  Illustrious  D.  D.  Philip  Jph.  Tres  Palacios,  Bishop-  And  The 
Most  Excellent  D.  D.  Ludovico  Do  Las  Casas  Captain-General  Of  The  Civil 
And  Military  Government." 

The  remains  will  be  transferred  to  the  new  monument  for  the  Cathedral, 
which  has  been  described  in  its  proper  place. 

MELERO  :  STATUE  OF  COLUMBUS  FOR  THE  TOWN-  OF  COLON,  'CUBA. — This 
beautiful  statue  to  be  erected  in  the  centre  of  the  Park  of  Isabella  tho  Catholic, 
at  Colon,  in  the  Island  of  Cuba,  is  the  work  of  a  talented  Cuban  painter, 
Miguel  Melero,  Director  of  the  Academy  of  Painting  and  Sculpture,  at  Havana. 

The  whole  monument  will  be  28  feet  in  height.  The  pedestal  rises  on  a 
wide  flight  of  steps,  forming  an  octagonal  prism,  with  a  plain  capital  on  which 
stands  the  statue.  (Cut  No.  62.) 

From  the  projecting  faces  are  four  detached  pillars,  and  four  bronze  lions 
modelled  by  the  same  artist.  The  front  face  will  bear  a  commemorative  in 
scription  on  a  bronze  slab. 

The  statue  is  of  bronze,  about  eight  feet  in  height  and  represents  Columbus 
leaning  on  an  anchor  and  a  capstan,  pointing  to  the  newly  discovered  land : 
the  model  in  clay,  has  been  exhibited,  and  has  met  with  universal  approval. 
The  artist  has  faithfully  followed  the  descriptions  of  Columbus,  and  the  dress, 
anchor  and  capstan  are  historically  correct. 


62— STATUE  AT  COLON,  CUBA, 


105 


106 


THE  COLUMBUS  GALLERY, 


The  bronze  for  the  statue  has  been  donated  by  the  planters  of  the  District 
of  Colon,  and  the  statue  has  just  been  successfully  cast  in  the  foundry  of  the 
town  of  Colon,  by  Messrs.  Armstrong  &  Estape. 

The  monument  will  be  enclosed  by  a  bronze  chain  depending  from  eight 
pillars  of  artistic  design. 


63— STATUE  AT  CARDENAS 

THE  CARDENAS  STATUE. — In  the  Plaza  de  Recreo  in  the  city  of  Cardenas, 
there  is  a  bronze  statue  of  Columbus  which  was  erected  on  the  25th  of  Decem 
ber,  1862.  (Cut  No.  63.)  The  model  was  made  in  Madrid  by  the  eminent 


THE  COLUMBUS  GALLERY.  107 

Valencian  sculptor,  Francisco  Piquer,  following  the  conception  of  Mr.  Caveda, 
of  the  Academy  of  History.  It  was  cast  in  bronze  at  Marseilles  by  Morell. 
The  hero  is  represented  attired  in  a  very  modest  garb,  lifting  the  veil  that 
covers  a  part  of  the  globe  with  the  left  hand,  and  pointing  with  the  right,  to 
the  regions  discovered  by  him.  In  the  front  face  of  the  pedestal,  there  is  a 
very  beautiful  bass-relief  representing  the  triumph  of  Faith  and  Hell  van 
quished  by  the  victory  that  Columbus  obtained  by  his  discovery.  On  the 
back  of  the  pedestal,  there  is  an  inscription  which  runs  as  follows : 

OCCIDUARUM  REGIONUM  INVENTOR  GENU^E  DECORI  MAXIMO 
HISPANIARUM  ORNAMENTO  E  CUNCTO  FERE  LATO  PATET  TER- 
RARUM  ORBE  INSOLENS  PROPTER  FACTUM  DERISUM  OLIM  NUNC 
OMNIUM  PLAUSUS,  SANCTA  CUM  ADMIRATIONE  EXTORQUENTI 
CHRISTOPHORUS  COLUMBUS  HOCCINI  PIETATIS  ERGO  ET  GRATI 
ANIMI INSIGNE  MONUMENTUM  SECUNDA  ELIZABETHO  REGNANTE 
OPPIDUM  CARDENAS  POSUIT  ANNO  MDCCCLXII. 

The  distinguished  sculptor,  Mr.  Fernando  Miranda,  then  a  disciple  of 
Piquer  and  now  residing  at  New  York,  greatly  helped  him  in  modelling  this 
beautiful  work. 

The  statue  in  Mexico  and  that  by  Cordier  in  Paris,  are  almost  exact  copies 
of  that  by  Piquer,  in  the  city  of  Cardenas,  Cuba :  the  attitude  in  each  being 
exactly  alike,  with  the  exception  of  the  right  arm,  which  in  that  by  Piquer 
points  to  the  newly  discovered  land,  while  in  that  of  Cordier,  it  is  raised  in  a 
triumphant  manner. 

CIFUENTES,  CUBA. — Miss  Felipa  G.  Lazaro,  a  young  lady  artist  born  at 
Madrid,  Spain,  and  at  present  residing  in  Havana,  has  modeled  a  handsome 
bust  about  three  feet  high  which  is  to  be  erected  on  a  pedestal  in  the  town  of 
Cifuentes,  Cuba. 

The  features,  as  far  as  I  can  judge  from  the  cuts  I  have  seen,  ark  taken  from 
the  portrait  in  the  Naval  Museum,  at  Madrid.  On  the  lower  part  of  the  bust 
is  the  coat  of  arms  conferred  upon  Columbus  by  the  Catholic  Kings.  Miss 
Lazaro  is  not  only  a  sculptress,  but  also  a  painter  of  repute.  She  studied 
under  the  able  sculptor  Molinelli,  as  well  as  under  the  eminent  Spanish  water 
color  painter,  Lozana. 

STATUE  AT  BAYAMO. — In  the  Plaza  del  Cristo,  at  Bayamo,  Cuba,  a  small 
statue  was  erected  on  October  1892.  From  descriptions  I  have  read,  it  is  the 
work  of  the  Messrs.  Castells,  and  is  a  very  beautiful  piece  of  workmanship. 
A  correspondent  of  the  journal  La  Union,  published  at  Manzanillo,  says 
that  it  is  unique  in  its  class,  as  the  material  consists  of  the  first  earth  trodden 
by  Columbus  in  Cuba,  and  being  painted  white  resembles  Carrara  marble.  It 


108 


THE  COLUMBUS  GALLERY. 


appears  therefore,  that  the  statue  is  of  clay,  but  as  the  question  as  to  the  first 
earth  trodden  by  Columbus  in  Cuba  has  yet  to  be  decided,  I  cannot  say  from 
whence  the  clay  for  the  statue  came. 

For  the  greater  part  of  the  descriptions  and  pictures  of  the  monuments  in 
Cuba,  I  am  indebted  to  the  kindness  of  Mr.  Carlos  I.  Parraga,  a  distinguished 
lawyer  and  resident  of  Havana. 


SANTO  DOMINGO 


MONUMENT  AT  SANTO  DOMINGO. — This 
statue  was  erected  in  1886  :  its  cost  was 
defrayed  by  a  public  subscription  insti 
tuted  by  the  Municipal  Council  of  the  city 
of  Santo  Domingo.  It  stands  in  the  centre 
of  the  principal  square  of  the  city,  in  the  im 
mediate  vicinity  of  the  Governor' s  palace. 
The  pedestal  is  square,  of  pyramidal  form, 
and  the  material  is  white  marble.  The 
statue  is  bronze,  and  of  colossal  size.  The 
head  of  the  Admiral  as  well  as  his  attire 
in  the  garb  of  the  navigators  of  his  time 
are  strictly  historic.  (Cut  No.  64.) 

On  the  pedestal  of  the  statue  and  in 
the  attitude  of  ascending  to  reach  the  Ad 
miral,  is  an  Indian  female  figure  probably 
intended  for  Anacaona,  the  caciquess  of 
Xaragua. 

The  inscription  on  the  monument  reads : 

ILUSTRE  Y  ESCLARECIDO  DON 
CRISTOYAL  COLON. 

The  statue  which  was  cast  in  France 
some  years  ago,  stands  in  the  centre  of 
the  Plaza  facing  the  cathedral. 


64 — MONUMENT  AT  SANTO  DOMINGO. 


THE  COLUMBUS  GALLERY.  109 


HONDURAS. 


STATUE  AT  TRUJILLO. — The  government  of  the  Republic  of  Honduras  has 
ordered  the  erection  of  a  bronze  statue  of  th  Discoverer  on  a  pedestal  of 
granite,  at  the  expense  of  the  nation.  Is  was  to  be  unveiled  on  the  12th  of 
October  1892,  and  will  stand  in  the  centre  of  the  Park  of  the  city  of  Truxillo. 
On  the  front  of  the  pedestal  there  is  an  inscription  which  reads  as  follows  :- 
u  La  Repiiblica  de  Honduras  ti  Cristobal  Colon,  1492-1892,''  the  translation  of 
which  is  "  The  Republic  of  Honduras  to  Christopher  Columbus." 


COLOMBIA. 


STATUE  AT  COLON. — In  1866,  Eugenie,  Empress  of  the  French,  presented  to 
Gen.  Tomas  Mosquera,  ex-President  of  Colombia,  and  Minister  at  the  French 
Court,  this  beautiful  monument  as  a  gift  to  the  republic  of  which  he  was  the 
representative.  The  present  was  formally  accepted  on  the  29th  day  of  June, 
of  the  same  year,  and  was  erected  in  1870,  in  the  city  of  Colon,  in  the  new 
ward  named  Christopher  Columbus,  at  the  northern  entrance  to  the  Panama 
canal  and  where  the  buildings  of  the  Company  are  situated.  (Cut  No.  65.) 

This  group  was  exhibited  at  the  Paris  Exposition  of  1867  and  was  much 
admired.  It  is  of  bronze,  of  colossal  size,  and  stands  on  a  low  square  block  of 
granite,  which  is  entirely  unpretentious,  artistically.  It  represents  Columbus 
in  the  uniform  of  an  Admiral,  wearing  a  rich  mantle  over  his  shoulders.  The 
head  is  uncovered  and  he  is  raising  an  Indian  girl  who  is  half  crouching  before 
him.  The  head  is  superb  and  the  artist  has  rigorously  adhered  to  the  descrip 
tions  we  have  of  the  Admiral. 

On  the  face  of  the  pedestal  is  the  following  incription  :- 

"CHRISTOPEORUS  COLUMBUS  EXTREMUM,  INGENTEM,  CAECUM 
TRANS  .EQUORA  MUNDUM,  HESPERLE  RATES  DUXERAT:  IPSE 
DEDIT.  IV  IDUS  OCTOBRIS  M.CCCCXCII." 


110 


THE  COLUMBUS  GALLERY. 


On  the  back  is  another  inscription  reading  : 

"EL  GRAN  GENERAL  TOMAS  C.  DE  MOSQUERA  PRESENTO  AL 
CONGRESO  DE  LOS  ESTADOS  UNIDOS  DE  COLOMBIA  ESTA  ESTA- 
TUA,  DON  DE  LA  EMPARATRIZ  DE  LOS  FRANCESES,  EUGENIA." 


65 — STATUE   AT   COLON. 


The  statue  was  received  at  Panama,  on  May  1,  1870,  but  I  have  been  unable 
to  ascertain  the  date  of  its  dedication. 


COLUMBUS   GALLERY.  Ill 

MEXICO. 

MONUMENT  AT  MEXICO. — This  monument  is  due  entirely  to  the  munificence 
of  Mr.  Antonio  Escandon,  a  rich  banker  of  Mexico.  His  nephew,  Mr.  Alejan 
dro  Arango  y  Escandon  was  entrusted  by  him  with  the  selection  of  the  artist 
and  the  persons  to  be  represented  in  the  monument. 

Mr.  Arango  placed  the  work  in  the  hands  of  Charles  Cordier,  the  distin 
guished  French  sculptor,  in  1873,  and  it  was  delivered  to  him  at  Yera  Cruz,  in 
1875,  but  on  account  of  some  discussion  about  the  selection  of  the  site,  it  was 
not  dedicated  until  August,  1877.  It  had  been  previously  exhibited  at  the 
Palais  de  1' Industrie,  Paris,  and  was  much  admired.  The  cost  of  the  work 
was  nearly  $100,000.  (Cut  No.  66.) 

The  monument  occupies  a  splendid  site  on  the  Calzada  de  la  Reforma, 
which  extends  to  Chapultepec.  It  is  surrounded  by  a  beautiful  garden  and  is 
enclosed  by  posts  and  chains,  so  placed  as  to  allow  of  a  very  close  inspection 
of  the  monument  and  its  details. 

The  form  of  the  socle  is  octagonal,  each  side  measuring  about  sixteen  and 
one-half  feet.  At  each  of  the  angles,  there  is  an  ornamental  bronze  lamp  post 
each  of  which  has  a  cluster  of  five  gas  lights. 

On  the  socle  stands  the  base  which  is  in  the  form  of  a  square  with  trun 
cated  angles.  The  faces  are  adorned  as  follows :-  on  the  east  side  a.ve  engraved 
the  words,  "A  Cristobal  Colon,"  and  this  inscription  is  bordered  by  four 
bronze  bands  set  in  the  stone,  surmounted  by  the  coat  of  arms  of  Columbus 
and  Castile,  with  a  pomegranate  beneath.  There  is  a  shorter  inscription  stating 
that  the  monument  was  dedicated  in  August,  1877.  The  west  side  is  adorned 
with  laurels  and  palms  in  bronze,  and  an  ellipse  containing  a  fragment  of  the 
letter  of  Columbus  to  Rafael  Sanchez  commencing,  "  triyesimo  die  .  .  .  .  ad 
cceteras  alias  pervenimus" 

Under  this  ellipse  is  the  dedication  reading  :- 

"  CHRISTOFORO  COLUMBO,  HOC  yETERJX/E  ADMIRATIONIS  TES- 
TIMONIUM  EREGI  URBIS  MEXICANS  OFFERERI  VOLUIT.  ANTO- 
NIUS  ESCANDON.  MDCCCLXXY." 

On  the  south  side  there  is  a  beautiful  bass-relief  in  bronze,  representing 
Columbus  taking  leave  of  Fray  Juan  Perez  :  in  the  background  appear  the 
Convent  of  La  Rabida  and  the  village  of  Palos. 

On  the  north  side  is  another  bass-relief  showing  the  Landing  of  Columbus 
Both  possess  great  artistic  merit  and  are  about  four  and  a  half  feet  by  about 
four  feet  two  inches. 


112 


THE  COLUMBUS  GALLERY. 


66 — MONUMENT   AT  MEXICO. 


THE  COLUMBUS  GALLERY.  US 

At  each  of  the  truncated  angles  of  this  pedestal  stands  a  bronze  statue  about 
seven  feet  two  inches  in  height :  they  represent  four  monks,  Fray  Juan  Perez, 
Las  Casas,  Deza  and  Gante.  The  first  and  the  third  named  were  personal  friends 
of  Columbus  and  warmly  aided  him  in  his  enterprise.  Las  Casas  is  the  well- 
known  "Apostle  of  the  Indians,"  and  Gante  was  the  founder  of  the  first 
college  in  Mexico,  in  1529.  All  are  represented  seated. 

This  pedestal  is  surmounted  by  one  of  similar  design,  and  on  it  stands  the 
colossal  statue  of  Columbus  in  white  marble :  its  height  is  twelve  feet.  He 
stands  with  his  right  hand  extended  towards  heaven,  as  if  giving  thanks  for 
his  great  discovery,  while  with  his  left  hand  he  raises  the  veil  which  concealed 
the  world  he  has  just  discovered. 

The  entire  monument,  which  is  forty-five  feet  high,  is  of  Russian  jasper  and 
is  a  beautiful  and  noble  structure ;  but  the  statue  makes  Columbus  a  young 
man  and  his  features  are  not  those  so  well-known  from  the  description  of  his 
contemporaries. 

For  the  data  used  in  the  foregoing  description  I  am  indebted  to  the  kind 
ness  of  Mrs.  Helen  S.  Conant,  a  lady  well-known  in  the  literary  world,  and 
who  has  always  taken  a  great  interest  in  the  history  and  literature  of  Spanish 
America. 


PERU. 


THE  MONUMENT  AT  LIMA. — In  the  centre  of  the  Plaza  del  Acho,  in  the  Ala- 
meda  del  Acho  in  Lima,  a  splendid  monument  has  been  erected  in  memory  of 
Columbus.  On  the  beautiful  pedestal  which  is  surrounded  by  a  railing  of 
artistic  design,  and  stands  in  a  pretty  garden,  there  is  a  colossal  group  in 
Italian  marble,  representing  Columbus  partially  drawing  aside  his  mantle  with 
his  right  hand,  and  disclosing  an  Indian  maiden  typifying  America,  rising 
before  him,  while  in  his  left  hand,  he  holds  a  cross.  Columbus  is  richly  clad 
in  the  full  dress  of  an  Admiral,  with  an  ample  mantle  and  plumed  cap. 
(Cut  No.  67.) 

The  group,  which  is  of  great  artistic  merit,  was  exhibited  at  the  Paris  Expo 
sition  of  1867,  where  it  obtained  a  prize,  and  is  the  work  of  the  famous  Italian 
sculptor,  Salvatore  Revelli.  The  four  faces  of  the  pedestal,  which  is  of  white 
marble,  have  beautiful  bass-reliefs  and  inscriptions  and  are  the  work  of  the 
Italian  artist,  Giuseppe  Palombini.  At  the  four  corners  of  the  railings  are 


THE  COLUMBUS  GALLERY. 


67 — MONUMENT  AT  LIMA. 


THE  COLUMBUS  GALLERY.  115 

massive,  square  granite  pillars,   with  bronze  lion's   heads  on  the  sides,  and 
dolphins  and  tridents  in  the  same  metal  on  the  top  of  each. 

This  statue  was  erected  in  1880.  The  features  of  the  Admiral  are  in  strict 
accordance  with  the  descriptions  we  have  of  him,  and  his  attire  is  that  in  vogue 
at  the  close  of  the  XVIt'h  century. 


CHILL 


STATUE  AT  VALPARAISO. — A  bronze  statue  standing  on  a  marble  pedestal 
has  been  erected  at  Valparaiso,  Chili.  The  figure  is  of  heroic  size,  and  stands 
with  the  foot  advanced,  and  a  cross  in  the  right  hand. 

BUST  AT  SANTIAGO. — At  Santiago,  Chili,  is  a  marble  bust  of  Columbus, 
following  the  De  Bry  type.  The  bust  has  a  Dutch  cap  and  garments. 


UNITED  STATES. 


THE  BOSTON  STATUE. — One  of  the  earliest  statues  erected  to  the  memory  of 
Columbus,  in  the  United  States,  is  that  at  Boston,  presented  to  the  city  in 
1849,  by  the  resident  Italian  merchants;  the  chairman  of  the  Presentation 
Committee  being  Mr.  lasigi.  The  site  of  the  statue  is  on  Louisburg  Square  : 
it  is  now  in  somewhat  poor  condition,  and  has  no  artistic  merit. 

BOSTON. — MONTEVEKDE  :  THE  INFANT  COLUMBUS. — The  illustrious  Monte- 
verde  is  the  sculptor  of  this  superb  work,  which  represents  Columbus  as  a  char 
ming  child  at  play  :  he  is  sitting  on  a  mooring-post  upon  a  pier,  against  which 
the  waves  are  breaking  ;  he  is  in  deep  meditation  and  holds  a  book  in  his  hand. 
I  have  in  my  possession  only  some  cuts  representing  it  from  different  points  of 
view,  and  I  have  also  seen  a  plaster  cast  of  it.  It  is  difficult  to  conceive  a  more 
graceful  work,  and  although  it  has  no  historical  value,  its  artistic  merit  has 
been  a  source  of  inspiration  for  many  distinguished  Italian  poets.  This  statue 
first  revealed  to  the  world  the  genius  of  the  artist  and  was  the  stepping  stone  to 
his  brilliant  career.  It  was  made  in  Rome  in  1871,  and  after  winning  a  gold 
medal  at  an  exhibition  at  Parma,  Italy,  was  presented  to  the  city  of  Boston  by 
Mr.  A.  P.  Chamberlain,  of  Concord,  Mass. 


116 


THE  COLUMBUS  GALLERY. 


THE  NEW  YORK  MONUMENT. — The  finest  memorial  of  Columbus,  in  this 
country,  is  the  well-timed  and  graceful  gift  of  the  Italian  residents  of  the 


68 — THE   NEW   YOKK   MONUMENT. 

United  States  to  the  city  of  New  York,  which  stands  on  the  beautiful  'site 
facing  Central  Park,  at  the  corner  of  59th  Street  and  8th  Avenue.  (Cut  No.  68.) 


THE  COLUMBUS  GALLERY.  117 

This  handsome  monument  to  the  immortal  discoverer  of  America  was 
formally  dedicated  with  appropriate  and  imposing  ceremonies,  at  which  a  vast 
crowd  of  the  residents  of  New  York  and  visitors  from  all  parts  of  the  United 
States  assisted,  on  the  12th  of  October,  1892,  the  400th  anniversary  of  the  dis 
covery  of  this  Continent. 

It  was  in  January,  1889,  that  the  order  for  the  designs  was  sent  to  the 
Minister  of  Public  Instruction,  Bosselli,  through  Signor  Barsotti,  editor  and 
proprietor  of  11  Progresso  Italo- Americano,  by  the  Italian  residents  of  New 
York.  In  accordance  with  the  instructions,  sculptors  were  invited  to  compete 
for  the  design  of  the  monument,  it  being  expressly  stipulated  that  none  but 
artists  of  Italian  birth  would  be  eligible.  As  the  architecture  as  well  as  the 
design  had  to  be  passed  upon,  nine  judges  were  appointed,  three  painters, 
three  architects  and  three  sculptors  ;  the  painters  were  Mascari,  Prosperi  and 
Marini ;  the  architects  were  Calderini,  who  designed  the  new  Palace  of  Justice 
at  Rome,  Sacconi  and  Basile  :  the  sculptors  were  Monteverde,  the  artist  who 
executed  the  Infant  Columbus,  Gallori  and  Ferrari.  The  award  of  the  com 
mittee  was  given  to  the  celebrated  sculptor,  Gaetano  Russo,  the  designer  of 
many  works  which  are  world -renowned.  Russo  was  born  at  Messina,  Sicily, 
but  in  1848,  when  he  was  scarcely  out  of  his  teens,  his  enthusiastic  love  of  art 
led  him  to  Rome,  where  he  was  a  pupil  in  the  Academia  dei  Belle  Arti,  on  leav 
ing  which  institution,  he  became  the  pupil  of  Monteverde.  He  is  in  receipt  of 
a  handsome  pension  from  Messina,  his  native  city. 

I  will  now  give  a  description  of  the  monument.  It  is  seventy-seven  feet 
high.  The  terraced  pedestal  and  octagonal  corner  post  are  of  red  granite  from 
Ravenna,  against  which  the  noble  figure  of  Genius  and  the  magnificent  Alpine 
eagle,  the  strongest  as  well  as  the  fiercest  of  all  its  family,  on  opposite  sides  of 
the  second  terrace  of  the  pedestal  are  seen  to  the  greatest  advantage,  both 
being  of  the  purest  marble  from  the  celebrated  quarries  of  Carrara.  The  orna 
mental  capital  of  the  column  is  also  of  marble,  and  the  plain  pedestal  which 
is  crowned  with  the  marble  statue  of  the  great  Admiral  is  of  gray  granite.  The 
bass-reliefs  below  the  Genius  and  at  its  sides  are  of  bronze,  as  well  as  the  six 
prows-three  on  each  side  of  the  column,  and  the  anchors  and  central  inscription 
-"  A  CRISTOFORO  COLOMBO"— forming  altogether  a  very  beautiful  com 
bination  of  color  and  material.  The  size  of  the  bass-reliefs  is  ten  feet  by  two  ; 
the  Genius  is  ten  feet  four  inches  in  height.  The  figure  of  Columbus  is  twelve 
feet  nine  inches  high.  The  Admiral  is  represented  at  the  moment  his  vague 
ideas  have  assumed  sure  and  definite  shape.  He  stands  proudly  erect,  his 
piercing  gaze  seeming  even  then  to  discern  the  marvelous  discoveries  that 
awaited  him  thousands  of  miles  away.  The  ship's  rudder  grasped  firmly  in 


118  THE  COLUMBUS  GALLERY. 

his  right  hand,  is  emblematic  of  the  solution  of  the  great  problem  which  he 
has  just  conceived.  The  anchors  symbolize  the  merchant  service,  to  which, 
his  vessels,  the  Pinta,  the  Nina  and  the  Santa  Maria,  belonged.  The  Genius 


69 — BUST  OF  COLUMBUS,  MIRANDA  FOUNTAIN. 

and  the  Eagle  below   the  figure   are  magnificent  in  conception,  design   and 
execution. 

The  bass-reliefs  under  the  Genius  and  the  Eagle,  represent  two  supreme 
moments  in  the  life  of  the  Admiral.  The  ships,  boats,  banners  and  costumes 
in  both  are  fairly  correct  historically.  In  the  first  of  these  bass-reliefs,  Colum- 


THE  COLUMBUS  GALLERY.  119 

bus  is  depicted  starting  off  in  his  boat,  to  step  upon  the  newly  discovered  land, 
the  sight  of  which  has  just  gladdened  the  hearts  of  himself  and  his  compa 
nions.  The  second  bass-relief  shows  Columbus  reverently  returning  thanks  to 
Heaven  for  his  success.  On  the  beach  two  sailors  are  hauling  up  his  boat. 
Pressing  about  him,  caressing  his  hands  and  kissing  the  hem  of  his  robe,  are 
grouped  his  companions,  shedding  tears  of  joy  and  entreating  his  forgiveness, 
while  peeping  through  a  screen  of  tropical  foliage,  the  wondering  and  half 
frightened  Indians  gaze  at  the  strangers. 

The  spaces  between  the  bass-reliefs  and  at  the  sides  of  the  Genius  and  the 
Eagle  bear  the  following  inscriptions  in  English  and  Italian,  composed  by  Ugo 
Fleres,  the  Sicilian  poet  :- 

The  English  inscription  reads  as  follows,  on  the  sides  of  the  base  between 
the  massive  posts  which  form  the  corners  :- 

"TO  CHRISTOPHER  COLUMBUS, 
THE  ITALIAN  RESIDENTS  IN  AMERICA. 

SCOFFED  AT  BEFORE;  DURING  THE  VOYAGE  MENACED;  AFTER 
IT  CHAINED  ;  AS  GENEROUS  AS  OPPRESSED,  TO  THE  WORLD  HE 
GAVE  A  WORLD. 

JOY  AND  GLORY  NEVER  UTTERED  A  MORE  THRILLING  CALL 
THAN  THAT  WHICH  RESOUNDED  FROM  THE  CONQUERED  OCEAN 
IN  SIGHT  OF  THE  FIRST  AMERICAN  ISLAND,  LAND  !  LAND  ! 


ON  THE  XVIITH  OF  OCTOBER  MDCCCXCII  THE  FOURTH  CENTE 
NARY  OF  THE  DISCOVERY  OF  AMERICA  IN  IMPERISHABLE  RE 
MEMBRANCE/' 

The  Italian  inscription  is  :-"A  CRISTOFORO  COLOMBO-GLI ITALIANI 
RESIDENTI  IN  AMERICA-IRRISO  PRIMA-MINACCIATO  DURANTE 
IL  VIAGGIO-INCATENATO  DOPO-SAPENDO  ESSERE  GENEROSO- 
QUANTO  OPPRESSO-DONAVA  UN  MONDO  AL  MONDO-LA  GIOIA  E 
LA  GLORIA-NON  EBBERO  MAI  PIT?  SOLENNE  GRIDO-DI  QUELLO 
CHE  RISUONO  '-SULL'  OCEANO  DOMATO-IN  VISTA  DELLA  PRIMA 
1SOLA  AMERICANA-TERRA!  TERRA1-NEL  XII OTTOBRE  MDCCCXCII 
-IV  CENTENARIO-DELLA  SCOPERTA  D'AMERICA-A  IMPERITURA 
MEMORIA." 

COLUMBUS  FOUNTAIN,  NEW  YORK  CITY.— The  projected  Columbus  Fountain 
for  Central  Park,  New  York,  is  the  work  of  the  celebrated  Spanish  sculptor, 
Fernando  Miranda.  The  fountain  is  to  have  a  basin  one  hundred  feet  in 
diameter.  From  the  centre  rises  a  section  of  the  globe  on  the  summit  of  which 


120  THE  COLUMBUS  GALLERY. 

stands  the  Admiral  with  his  two  Captains,  Martin  Alonzo  Pinzon,  and  his 
brother,  Vicente  Yafiez  Pinzon.  The  total  height  of  the  globe  and  figures 
above  the  water  is  to  be  twenty-nine  feet,  and  the  figures  will  be  of  bronze  and 
sixteen  feet  high.  The  fountain  will  also  be  of  bronze,  while  the  proposed 


70 — COLUMBUS   FOUNTAIN,    NEW   YORK   CITY. 

site  is  the  Plaza  at  the  entrance  to  Central  Park.  The  artist  has  put  the 
finishing  touches  to  his  model  and  nothing  now  remains  to  be  done  but  the 
casting  of  the  group. 

The  figure  of  Columbus  is  to  face  Fifth  Avenue.     The  technical  difficulties 
which  the  sculptor  had  to  surmount  were  many.     The  grouping  of  the  figures 


THE  COLUMBUS  GALLERY.  121 

in  juxtaposition  was  a  serious  problem  without  making  a  plexus  of  the  legs, 
but,  as  will  be  seen  from  the  illustrations,  Mr.  Miranda  has  cleverly  overcome 
the  difficulty.  The  figures  stand  in  natural  positions— Columbus  grasping  the 
cross-hilt  of  his  sword  and  looking  eagerly  ahead,  while  Vicente  Pinzon  points 
with  the  impulsiveness  of  youth  to  the  land  which  is  dimly  discernible  in  the 
distance,  and  Martin  Pinzon  shading  his  eyes  with  his  left  hand,  is  looking  in 
the  same  direction  as  his  companions.  (Cuts  Nos.  69  and  70.) 

The  dress  and  arms  are  absolutely  correct,  even  to  the  lesser  details  of  the 
decorations  of  the  skirt  of  the  tunic. 

The  fountain  is  a  gift  from  the  citizens  of  the  Spanish  race  of  America  to 
the  city  of  New  York,  and  the  Spanish  government  has  offered  to  supply  from 
her  arsenals  any  deficiencies  in  metal ;  a  special  act  for  that  purpose  having 
been  passed  by  the  Cortes.  Several  of  the  South  American  Republics  have 
already  sent  their  old  cannon  to  New  York,  and  church  bells  are  also  promised 
to  be  used  in  combination  with  the  gun  metal.  The  total  weight  of  metal 
required  will  be  20,000  pounds. 

Mr.  Juan  N.  Navarro,  the  Mexican  consul,  and  Mr.  Arturo  Baldasano  y 
Topete,  the  Spanish  consul,  have  rendered  valuable  aid  in  pushing  the  project, 
while  the  Spanish  ambassador  at  Washington,  Don  Enrique  Dupuy  de  Lome, 
has  so  interested  the  Queen  that  she  as  well  as  the  Infanta  have  promised  to 
send  specimens  of  needlework  and  painting,  the  work  of  their  own  hands — the 
King's  present  consisting  of  toys;  all  of  which  are  to  be  disposed  of  at  a  fair  to 
be  held  in  New  York. 

Mr.  Miranda  gives  the  labor  of  years  as  his  contribution.  He  is  a  native  of 
Valencia,  Spain,  and  was  a  pupil  of  the  sculptor  Piquer  of  the  court  of  Queen 
Isabella  II.  During  the  Centennial  Exposition  he  came  to  the  United  States, 
and  has  since  done  considerable  work  for  leading  American  publications.  He 
is  the  designer  of  a  bust  of  Cervantes  which  it  is  proposed  to  place  in  Central 
Park.  King  Alfonso  XII  created  him  a  Comendador  of  the  Royal  Order  of 
Isabella,  and  he  was  knighted  several  years  ago. 

This  fountain,  which  is  the  gift  of  the  Spanish  colony  in  New  York,  will 
bear  an  inscription  which  reads  as  follows  : 

'•A  COLON  Y  LOS  PIN  ZONES  LOS  ESP  ANGLES  E  HISPANO-AME- 
RICANOS  DE  NUEVA  YORK." 

"TO  COLUMBUS  AND  THE  PINZONS,  THE  SPANIARDS 

AND  SPANISH-AMERICANS  OF  NEW  YORK." 

NEW  YORK  HISTORICAL  SOCIETY. — The  bust  in  the  possession  of  the  New 
York  Historical  Society,  has  some  artistic  merit,  but  as  it  is  simply  a  duplicate 


122  %          THE  COLUMBUS  GALLERY. 

of  that  in  the  Museo  Capitolino,  at  Rome,  which  is  entirely  imaginary,  it  lias 
no  historical  value. 

Su5JoL. — STATUE  OF  COLUMBUS. — A  replica  of  his  famous  work  now  in 
Madrid,  and  which  is  to  be  erected  by  the  New  York  Genealogical  and  Biogra- 
graphical  Society  in  April  of  this  year,  is  now  ready  for  dedication,  the  neces 
sary  funds  for  the  purpose  having  been  raised.  Dr.  Chauncey  M.  Depew  will 
deliver  the  oration  and  Edmund  Clarence  Stedman  will  read  an  original  poem 
written  for  the  occasion. 

As  a  complete  description  arid  engravings  of  the  original  monument  and 
the  statue  at  Madrid,  is  given  elsewhere,  it  is  unnecessary  for  me  to  enter  into 
any  further  particulars  regarding  the  New  York  replica. 

STATUE  AT  CENTRAL  PAKE,  NEW  YORK. — Mrs.  Marshall  O.  Roberts  has 
presented  the  statue  of  the  Admiral,  the  work  of  Miss  Emma  Stebbins,  which 
stands  in  Central  Park.  The  statue  is  seven  feet  high,  and  represents  Colum 
bus  as  a  sailor  with  a  mantle  thrown  over  the  shoulder.  The  artist  has  followed 
the  facial  characteristics  of  the  Jovian  type. 

COLUMBUS  MEMORIAL  ARCH  IN  NEW  YORK. — A  competition  was  opened  on 
September  1,  1892,  and  a  prize  offered  for  the  most  acceptable  design  for  the 
erection  of  a  memorial  arch  at  the  entrance  to  Central  Park,  at  Fifty-ninth 
Street  and  Fifth  Avenue. 

The  committee  appointed  were  Richard  M.  Hunt,  John  Lafarge,  Augus 
tus  St.  Gaudens,  L.  P.  di  Cesnola  and  Robert  J.  Hoguet.  These  gentlemen 
awarded  the  prize  to  a  design  signed  "Columbia"  which  was  submitted  by 
Henry  B.  Hertz,  of  this  city.  A  gold  medal  was  given  to  the  artist,  and  a 
permanent  monument  of  metal  and  bronze  to  the  Genius  of  Discovery,  costing 
$350,000,  will  be  erected,  a  large  part  of  the  amount  necessary  for  the  purpose 
having  already  been  pledged. 

The  main  body  of  the  arch  is  of  white  marble  and  with  its  fountains, 
its  polished  monolithic  columns  of  pigeon-blood  marble,  its  mosaic  and  gold 
inlaying,  and  the  bass-relief  work  and  surmounting  group  of  bronze,  will  be 
an  architectural  monument  of  which  the  city  may  well  be  proud. 

From  the  ground  to  the  top  of  the  bronze  caravel  in  the  centre  of  the  allegor 
ical  group  with  which  the  arch  will  be  surmounted  the  height  will  be  160  feet, 
and  the  entire  width  of  the  arch  will  be  120  feet.  The  opening  from  the  ground 
to  the  keystone  will  be  eighty  feet  high  and  forty  feet  wide.  On  the  front  of 
each  piei  will  be  two  columns  of  pigeon-blood  marble.  Between  each  pair  of 
columns  and  at  the  base  of  each  pier  will  be  large  marble  fountains,  the  water 
playing  about  figures  representing  Victory  and  Immortality.  The  surface  of 


THE  COLUMBUS  GALLERY.  123 

the  piers  between  the  columns  will  be  richly  decorated  in  bass-relief,  with  gold 
and  mosaic.  Above  each  fountain  will  be  a  panel,  one  representing  Columbus 
at  the  Court  of  Spain,  and  the  other  the  great  Discoverer,  at  the  Convent  of 
La  Rabida,  just  before  his  departure  on  the  voyage  which  resulted  in  the  dis 
covery  of  America.  In  the  spaces  on  either  side  of  the  crown  of  the  arch  will 
be  colossal  reclining  figures  of  Victory  in  bass-relief. 

The  highly  decorated  frieze  will  be  of  polished  red  marble,  and  surmount 
ing  the  projecting  keystone  of  the  arch  will  be  a  bronze  representation  of  an 
American  eagle.  On  the  central  panel  of  the  attic  will  be  the  inscription  : 

"THE  UNITED  STATES  OF  AMERICA  IX  MEMORIAL  GLORIOUS 
TO  CHRISTOPHER  COLUMBUS,  DISCOVERER  OF  AMERICA." 

The  ornamentation  of  the  attic  consists  of  Columbus'  entry  into  Barcelona. 
Crowning  all,  is  to  be  a  group  in  bronze  symbolical  of  Discovery.     In  this 
group  there  will  be  twelve  figures  of  heroic  size,  and  a  colossal  statue  repre 
senting  the  Genius  of  Discovery,  heralding  to  the  world  the  achievements  of 
her  children. 

The  designer  is  only  twenty-one  years  old  and  is  a  student  in  the  architect 
ural  department  of  Columbia  College. 

THE  STATUE  AT  FAIRMOUNT  PARK, — PHILADELPHIA. — In  regard  to  this 
statue  which  I  saw  at  the  World's  Fair  in  1876,  I  will  avail  myself  of  a 
splendid  work  entitled  The  Masterpieces  of  tJie  International  Exhibition  of 
1876,  Gebbie  &  Barrie,  publishers,  Philadelphia,  from  which  I  have  taken  the 
following  data  :- 

"The  history  of  this  memorial  is  closely  connected  with  that  of  the  Exhibi 
tion.  The  Italian  residents  of  Philadelphia,  the  year  before  the  Centennial, 
inaugurated  a  movement,  having  for  its  purpose  the  erection  of  a  fitting 
monument  in  memory  of  the  Discoverer,  and  which  should  stand  in  the  im 
mediate  vicinity  of  the  Exhibition  Building.  The  necessary  funds  were  quickly 
raised  and  the  first  statue  of  Columbus  ever  erected  in  the  United  States  by 
private  subscription,  was  ordered  from  Italy.  In  1876,  Mr.  Viti,  the  Italian 
Consul  at  Philadelphia,  who  was  in  charge  of  the  project,  received  photo 
graphs  of  the  model,  and  the  statue  was  completed  and  dedicated  before  the 
close  of  the  Exhibition. 

"It  now  ornaments  the  beautiful  grounds  of  Fairmount  Park,  near  the  site 
of  the  Exhibition.  The  monument  is  lofty  and  the  figure  of  Columbus  is  of 
colossal  proportions  : — the  whole  structure  being  of  the  finest  white  marble. 
The  statue  represents  the  Admiral,  as  Discoverer,  Geographer  and  Navigator. 
The  position  is  a  standing  one,  with  the  right  hand  resting  on  a  globe  while 
the  fingers  are  on  the  spot  representing  the  American  Continent.  At  his 


124 


THE  COLUMBUS  GALLERY. 


feet,  is  an  anchor,  typifying  "Navigation,"  while  his  name,  CHRISTOPHER 
COLUMBUS,  is  carved  in  large  letters  on  the  socle  beneath  the  figure.  (Cut 
No.  71.) 


71 — THE  STATUE  AT  FAIEMOUNT  PARK,    PHILADELPHIA. 

"On  the  pedestal  below,  is  a  bass-relief  representing  the  Admiral  leaving 
the  Pinta  to  plant  the  Castilian  flag  upon  the  beach." 

MONUMENT  AT  SCKAISTTON,  PA. — The  Italian  residents  of  Scranton,  Pa.,  and 
vicinity,  desiring  to  immortalize  the  memory  of  their  illustrious  countryman, 


THE  COLUMBUS  GALLERY.  125 

have  erected  a  monument  to  Columbus  which  is  the  work  of  the  distinguished 
Italian  sculptor,  Alberto  Cottini.  The  statue,  which  is  of  heroic  size,  represents 
the  Admiral  standing  on  a  square  marble  plinth  which  rests  on  a  base  of  the 
same  material.  He  is  attired  in  the  garb  of  the  Admiral  of  the  Indies.  The 
inscription  on  the  front  of  the  plinth  reads  as  follows  :- 

1492-1892  COLUMBUS. 

The  design  of  the  artist  is  the  familiar  one  representing  the  Genoese  with  a 
chart  in  his  right  hand  and  pointing  exultantly  to  the  newly  discovered  land 
with  the  left. 

THE  WASHINGTON  STATUE.— Carderera  says  :-"  In  one  of  the  fagades  of 
the  Capitol  of  Washington,  a  beautiful  group  in  marble  representing  Colum 
bus  with  a  symbolical  female  figure  by  his  side,  was  erected  in  1844.  This 
excellent  work  executed  at  Naples,  by  the  sculptor  Persico,  has  glaring  incon 
gruities  in  dress,  notwithstanding  the  fact  that  the  famous  Discoverer  is  repre 
sented  as  being  clad  in  a  suit  of  armor  which  it  is  said  is  still  in  the  possession 
of  his  descendants  in  Italy.  Judging  from  the  engraving  before  us,  it  will  be 
seen  that  neither  the  armor,  nor  a  single  detail  of  the  dress  in  which  Columbus 
is  attired,  belonged  to  his  time,  but  to  a  period  of  one  hundred  years  after 
wards." 

I  regret  to  dissent  from  the  opinion  of  so  eminent  an  authority  as  Carde 
rera,  but  he  never  saw  the  statue,  while  I  have  unfortunately  had  the  oppor 
tunity  of  seeing  it  many  times.  Besides  the  inaccuracies  that  Carderera 
mentions,  the  visage  of  Columbus  bears  no  resemblance  at  all  to  the  descrip 
tions  we  have  of  him,  while  the  attitude  of  the  Admiral  with  the  globe  in  his 
hand  strikes  me  as  being  supremely  ridiculous  :  he  looks  like  a  warrior  of 
the  XVIIth  century,  playing  baseball  with  a  preposterously  large  ball :  his 
position  is  also  unnatural,  while  I  cannot  find  words  to  express  my  surprise  at 
the  inartistic  handling  of  the  figure  of  the  Indian  maiden. 

The  cost  of  the  group  was  $24,000  and  the  sculptor  was  at  work  on  it  for 
five  years.  I  do  not  consider  it  worth  reproduction. 

DOOR  OF  THE  CAPITOL  AT  WASHINGTON. — The  main  central  entrance  of  the 
Capitol  at  Washington,  is  the  famous  bronze  door,  the  work  of  the  American 
sculptor,  Randolph  Rogers,  which  was  cast  by  F.  vori  Mtiller,  at  Munich,  in 
1861.  The  door  is  17  feet  high  and  9  feet  wide  and  weighs  20,000  pounds.  It 
is  a  folding  or  double  door  and  is  set  in  a  bronze  casing  projecting  about  a 
foot  from  the  leaves.  On  the  casing,  are  four  figures  which  are  allegorical 
representations  of  Asia,  Africa,  Europe  and  America,  and  on  the  casing  between 
them  runs  a  border  typifying  Conquest  and  Navigation.  The  high-reliefs  on 
the  panels  show  important  events  in  the  life  of  Columbus,  and  at  the  sides  of 


126 


THE  COLUMBUS  GALLERY. 


them  are  statues  of  sixteen  of  the  most  prominent  persons  who  took  part  in 
the  discovery.     (Cut  No.  72.) 

The  eight  large  high-reliefs  on  the  panels  show :  1.    Columbus  before  the 


72 — DOOR  OF  THE  CAPITOL  AT  WASHINGTON. 

Council  of  Salamanca.     2.    Departure  of  Columbus  from  the  Convent  of  La 
Rabida  for  the  Spanish  Court.     3.  Audience  of  Columbus  at  the  Court  of  Fer- 


THE  COLUMBUS  GALLERY.  127 

dinaiid  and  Isabella.  4.  Departure  of  Columbus  from  Palos,  on  his  first  voyage 
of  discovery.  5.  First  meeting  of  Columbus  with  the  natives.  6.  Triumphal 
entry  of  Columbus  into  Barcelona.  7.  Columbus  in  chains.  8.  Scene  at  the 
death-bed  of  Columbus. 

On  the  semicircular  transom  of  the  door,  a  semicircular  high-relief  shows 
the  landing  of  Columbus  on  the  Island  of  San  Salvador.  On  the  jambs  of  the 
doors,  there  are  sixteen  small  statues  set  in  niches  representing  :  1.  The  Pope 
Alexander  VI,  (Roderigo  Lenzoli).  2.  Pedro  Gonzalez  de  Mendoza,  the  Great 
Cardinal,  Archbishop  of  Toledo.  3.  Ferdinand,  King  of  Spain.  4.  Isabella, 
Queen  of  Spain.  5.  Charles  VIII,  King  of  France.  6.  Beatriz  de  Bobadilla, 
Marchioness  of  Moya,  who  befriended  Columbus.  It  is  said  that  the  likeness 
is  that  of  Mrs.  Rogers,  the  wife  of  the  sculptor.  7.  John  II,  King  of  Portugal, 
who  rejected  the  plans  of  Columbus.  8.  Henry  VII,  King  of  England,  appealed 
to  by  Bartholomew  Columbus,  on  behalf  of  his  brother.  9.  Fray  Juan  Perez, 
Prior  of  the  Convent  of  La  Rabida.  10.  Martin  Alonzo  Pinzon,  commander  of 
the  Pinta.  11.  Hernando  Cortes,  conqueror  of  Mexico.  12  Bartholomew 
Columbus,  brother  of  Columbus.  It  is  said  that  the  likeness  is  that  of  the 
sculptor.  13.  Alonzo  de  Ojeda,  a  companion  of  Columbus.  14.  Vasco  Nunez 
de  Balboa,  discoverer  of  the  Pacific  Ocean.  15.  Amerigo  Vespucci,  after 
whom  by  a  freak  of  fortune  the  New  World  was  named.  16.  Francisco 
Pizarro,  conqueror  of  Peru. 

Over  the  transom,  is  a  grand  head  of  Columbus,  beneath  which  is  an  Ame 
rican  eagle  with  extended  wings.  Between  the  panels  and  at  top  and  bottom 
of  the  leaves  of  the  door,  are  ten  projecting  heads.  Those  between  the  panels 
are  historians  who  have  written  about  the  voyages  of  Columbus  from  his  own 
time  down  to  the  present  day,  ending  with  Irving  and  Prescott.  The  two  heads 
at  the  tops  of  the  leaves  are  female  heads,  and  the  two  next  the  floor  have 
Indian  characteristics. 

In  the  Rotunda  of  the  Capitol,  there  are  four  high-reliefs  over  the  doors, 
one  representing  Columbus  and  the  others,  Raleigh,  Cabot  arid  La  Salle. 

THE  CHICAGO  FOUNTAIN. — On  the  site  between  the  City  Hall  and  the  Court 
Housebuilding  in  Chicago,  on  the  Washington  Street  frontage,  stands  a  statue 
of  Columbus,  the  gift  of  John  B.  Drake,  proprietor  of  the  Grand  Pacific  Hotel. 
The  style  of  the  monument  is  Gothic,  and  the  base  is  of  granite  from 
Baveno,  Italy.  On  the  front  of  the  pedestal  will  be  placed  a  bronze  statue  of 
the  Admiral  seven  feet  high,  cast  in  Rome;  the  statue  is  the  work  of  Mr.  R. 
H.  Park,  of  Chicago. 

The  foundation  has  a  receptacle  holding  two  tons  of  ice,  and  has  ten  faucets, 
each  provided  with  a  bronze  drinking  cup. 


128  THE  COLUMBUS  GALLERY. 

The  inscription  reads:-"  ICE  WATER  DRINKING  FOUNTAIN  PRE 
SENTED  TO  THE  CITY  OF  CHICAGO  BY  JOHN  B.  DRAKE,  1892." 

At  the  feet  of  the  statue  of  Columbus,  who  is  represented  as  a  student  of 
geography  at  the  University  of  Pavia,  is  inscribed  : 

"CHRISTOPHER  COLUMBUS,  1492—1892." 

The  red  granite  base  for  the  fountain,  came  from  Turin,  Italy. 

THE  ST.  Louis  STATUE. — In  the  city  of  St.  Louis,  Mo.,  in  Shaw's  Garden, 
is  a  statue  of  Columbus,  which  is  the  gift  of  Mr.  Shaw  to  the  city.  The  figure 
of  the  Admiral  is  of  gilt  bronze  of  heroic  size  and  stands  upon  a  granite  pedes 
tal,  which  has  four  bronze  bass-reliefs  portraying  the  principal  events  in 
his  career.  The  features  follow  the  Genoa  model  and  the  statue  was  cast  at 
Munich. 

THE  STATUE  AT  SACRAMENTO,  CAL. — In  the  State  Capitol  at  Sacramento, 
stands  a  beautiful  and  artistic  group  in  white  marble,  the  work  of  Larkin  G. 
Mead  of  Vermont,  which  was  presented  to  the  State  of  California  in  1883,  by 
D.  O.  Mills.  It  is  of  white  marble  and  represents  Columbus  pleading  his  cause 
before  Queen  Isabella  of  Spain.  The  Spanish  sovereign  is  represented  as 
seated.  At  her  left  hand  kneels  the  first  Admiral,  while  a  page  on  the  right 
contemplates  the  scene  of  the  fabulous  offer  of  the  Queen  to  sacrifice  her  jewels 
to  aid  in  the  project  to  discover  the  New  World.  The  statue  was  executed 
by  Mr.  Mead,  in  Florence,  Italy. 


THE  COLUMBUS  GALLERY. 


129 


MEDALS. 


TIIK  MAURA  MEDAL. — The  Academy  of  Fine  Arts  of  San  Fernando  estab 
lished  at  Madrid,  opened  a  competition  for  a  medal  to  commemorate  the 
Discovery  of  America,  on  its 
fourth  Centennial.  The  first 
prize  was  awarded  to  the  dis 
tinguished  artist,  Mr.  Bartolo- 
meo  Maura.  He  selected  for 
the  design  of  his  medal  two  of 
the  most  momentous  events  in 
the  career  of  Columbus, — the 
discovery  of  land  and  the  re 
ception  of  the  Admiral  by  the 
Kings  on  his  return. 

This  happy  conception  was 
splendidly  elaborated  by  the 
artist  as  may  be  seen  by  the 
annexed  cuts,  (Nos.  73  and  74.) 


74 — MAURA  MEDAL  REVERSE,    FIRST  DESIGN. 


73 — MAURA   MEDAL,    OBVERSE. 

A  curious  story  is  connected 
with  this  medal  :  in  the  first 
design  submitted,  a  friar  was 
kneeling  in  front  of  Columbus 
as  if  in  the  act  of  thanking 
God  for  the  success  of  the  expe 
dition.  Many  persons  having 
with  good  reason  objected  to 
the  presence  of  a  friar — when 
as  is  well  established  to-day 
— no  ecclesiastic  accompanied 
the  first  expedition,  Mr.  Maura 
made  a  change  in  this  part  of 
the  medal  and  substituted  for 
the  figure  of  the  friar,  one  of 
the  discontented  crew.  He  thus 


showed  a  respect  for  historical  truth,  which  has,  unhappily,  not  been  followed 


130 


THE  COLUMBUS  GALLERY. 


in  many  countries  and  especially   in  the  United  States  where  every  Colum 
bian  fairy  tale  has  been  deemed  worthy  of  being  chronicled   in  art. 

The  medal  is  three  inches 
in  diameter  and  has  been  cast 
in  gold,  silver  and  bronze  ;  it 
is  a  beautiful  work  of  art. 

THE  LOPEZ  MEDAL. — The 
second  prize  was  awarded  to 
another  celebrated  engraver  of 
medals,  Mr.  Francisco  Asis 
Lopez,  the  designer  of  the  fa 
mous  medal  commemorating 
the  Centennial  of  Calderon. 
I  also  give  a  reproduction  of 
of  it,  as  it  has  on  the  obverse 
a  magnificent  bust  of  Colum 
bus,  taken  from  the  descrip 
tions  and  portraits  which  are 
75— MAURA  MEDAL  REVERSE,  SECOND  DESIGN.  considered  to  be  the  most 

faithful  representations  of  the  Admiral.  On  the  reverse,  is  Hope,  seated  in 
a  bark  guided  by  Faith,  in  her  search  for  the  New  "World,  which  is  seen  in 
the  background,  and  above  the  bark  a  flying  figure  of  Victory  points  to  the 
newly  discovered  land.  The 
medal  is  very  beautiful,  though 
as  it  is  not  historical  but  alle 
gorical,  the  Commission  with 
excellent  judgment  awarded 
the  prize  to  the  Maura  medal. 

THE  ITALIAN  MEDAL. — The 
Italian  Government  has  award 
ed  the  prize  for  a  medal  comme 
morating  the  Fourth  Centennial 
of  America,  to  an  artist,  who  has 
modestly  desired  to  conceal  his 
name,  and  the  medal  has  been 
engraved  by  the  celebrated  art 
ist,  Capuccio,  of  Genoa. 

One  side  of  the  medal  repre 
sents  the  bust  of  Columbus,  76~THE  LOPEZ  MEDAL'  OBVERSEt 


THE  COLUMBUS  GALLERY. 


131 


almost  in  profile.  The  head  is  beautiful  and  agrees  with  all  the  descriptions 
of  the  Admiral.  It  seems  to  have  been  taken  from  the  Capriolo  engraving, 
and  the  Yafiez  and  Rincon  portraits.  On  the  right  of  tho  bust  is  the  New 
World  symbolized  by  an  Indian,  and  on  the  left,  the  Old  World  represented 
by  a  matron,  both  clasping  hands  under  a  sphere  typifying  the  World. 
Beneath  tho  bust  is  a  condor  spreading  his  wings  in  the  act  of  night. 

The  reverse  represents  the  American  Indians  looking  with  amazement  at 
the  extraordinary  development  of  their  country  in  four  centuries.     America 


77 — THE  LOPEZ  MEDAL,    REVERSE. 


appears  in  the  air  surrounded  by  genii,  with  the  attributes  of  Commerce, 
Science  and  Plenty.  The  sun  rises  in  the  background,  illuminating  the 
apotheosis  of  America  ;  around  the  medal  are  the  coats  of  arms  of  all  the 
American  Republics.  Above  the  allegory  is  MDCCCXCII,  and  at  the  exergue 
under  the  feet  of  the  Indians  are  the  figures,  MCCCCXCII.  The  medal  is 
very  large  and  exceedingly  beautiful.  I  reproduce  the  obverse  for  the 
purpose  of  showing  a  new  effigy  of  Columbus. 


132 


THE  COLUMBUS  GALLERY. 


78— ITALIAN  MEDAL. 


HISTORICAL  PAINTINGS  AND  ENGRAVINGS. 


T  NOW  proceed  to  enumerate  the.  most  impoitant  historical  paint 
ings  referring  to  Columbus  that  I  have  been  able  to  find.  I  will 
simply  mention  the  titles  and  names  of  the  painters  of  some  as  I  have 
not  met  with  descriptions  or  reproductions  of  many  of  them.  Of 
others,  I  give  descriptions,  and  engravings  of  a  few  of  the  most  im 
portant.  I  have  not  followed  the  chronological  order  of  the  pictures, 
but  that  of  the  events  which  they  portray. 

In  order  to  avoid  unnecessary  repetitions,  and  so  that  readers  who  are  not 
familiar  with  the  history  of  Columbus,  may  perfectly  understand  the  significa 
tion  of  some  of  the  paintings  which  I  am  about  to  describe,  I  will  preface  each 
series  with  a  short  historical  notice  of  the  events  to  which  they  refer. 

I.  Some  authors  state  that  Columbus  in  his  youth  instead  of  indulging  in 
juvenile  sports  with  other  boys,  spent  his  leisure  hours  in  study  and  medi 
tation.  He  generally  preferred  to  roam  on  the  seashore  :  this  is  the  subject 
of  the  following  picture,  which  is  beautiful  but  entirely  imaginary. 

I.  CONCONI,  (MAURO.)     THE  YOUTH  COLUMBUS.     Exhibited  at   the  Paris 
Exposition  of  1867,  and  belonging  to  the  collection  of  M.  Marozzi,  of  Pavia. 

II.  Very  little  is  known  about  the  life  of  the  future  Discoverer,  before  he 
entered  the  service  of  the  Catholic  Kings.     Only  some  dry  facts  obscured  by 
many  legends  and  fables  have  come  down  to  us.     It  is  known  that  if  it  be  true 
that  he  left  Genoa  in  1470,  lie  certainly  returned  there  in  1472,  and  soon  left  his 
country  forever.     He  then  settled  at  Lisbon,  where  he  married  a  lady  of  noble 
birth,  Felipa  Mofiiz,  by  whom  he  had  at  least,  one  son,  Don  Diego,  the  second 
Admiral.     He  made  several  sea  voyages  and  went  as  far  north  as  Iceland,  as 
far  west  as  the  Azores,  and  as  far  south  as  the  coast  of  Guinea,  and  also  during 
this  time,  he  entered  into  correspondence  with  the  famous  astronomer,  Paolo 


134  THE   COLUMBUS  GALLERY. 

Toscanelli,  who  confirmed  his  idea  of  the  possibility  of  going  to  the  East  by 
taking  a  westward  course. 

It  is  also  said  that  at  this  period  Columbus  submitted  his  plans  for  carry 
ing  out  his  great  projects  to  the  Republics  of  Venice  and  Genoa  :  there  is  not 
the  slightest  proof  for  this  assertion,  yet  a  distinguished  artist  three  centuries 
ago,  depicted  one  of  these  apocryphal  episodes.  The  pictures  referring  to  this 
period,  are  : 

2.  PlCKERSGILL,  (FREDERICK  R.,)  COLUMBUS  AT  LlSBON,  (1875.) 

3.  ELMORE,  (ALFRED,)  COLUMBUS  AT  PORTO  SANTO,  (1878.) 

4.  TAVARONE,    (LAZZARO,)    COLUMBUS  EXPLAINING  ins  PLANS  OF  DISCO 
VERY  TO  THE  DOGE  OF  VENICE.     Painted  in  the  XVIth  century   and  now  in  a 
private  palace  at  Genoa. 

Like  all  paintings  from  the  brush  of  Tavarone,  the  design  and  coloring  of 
this  picture  are  beautiful :  the  accessories  are  strictly  historical,  but  Italian 
and  not  Spanish,  and  the  head  of  Columbus  is  entirely  imaginary. 

III.  It  is  not  possible  to  accurately  fix  the  date  when  Columbus  arrived  in 
Spain,  but  according  to  critical  researches,  it  must  have  been  about  1484.  He 
spent  some  time  in  Andalusia  trying  to  obtain  the  help  of  some  of  the  grandees, 
and  lived, — as  Bernaldez  who  was  his  personal  friend,  says, — by  peddling 
printed  books  and  by  drawing  maps.  In  Seville,  he  called  upon  the  Duke  of 
Medina-Sidonia,  and  at  the  Puerto  of  Santa  Maria,  on  the  Duke  of  Medina- 
Cell,  with  whom  he  remained  two  years,  and  from  whom  he  obtained  letters  of 
introduction  to  the  Queen,  and  to  many  important  personages  connected  with 
the  Court.  Among  them  was  Cardinal  Mendoza,  who  obtained  for  him  an 
audience  with  the  Queen,  and  subsequently  he  had  other  audiences  with  the 
Kings,  but  they  differed  in  their  opinions  as  to  the  feasibility  of  his  plans. 
The  following  pictures  refer  to  this  event : 

5.  TAVARONE,  (LAZZARO.)     COLUMBUS  IN  THE   PRESENCE  OF  FERDINAND 
AXD  ISABELLA.     Painted  in  the  XVIth  century  ;  in  a  private  palace  at  Genoa. 

From  the  notices  which  I  have  read  regarding  this  picture,  it  seems  that  it 
possesses  great  merit  and  is  still  well  preserved,  but  I  have  been  unable  to 
h'nd  any  description  of  it. 

6.  CRESPO. — PRESENTATION  OF  COLUMBUS  TO  THE  CATHOLIC  KINGS. 

This  picture  which  is  one  of  the  best  of  the  modern  Spanish  School,  has  in 
it  only  five  figures  :  they  are  Queen  Isabella  seated  on  a  throne,  having  on  her 
right  hand  the  Marchioness  de  Moya,  and  on  the  other  side,  her  husband, 
King  Fernando,  who  is  standing.  In  front  of  the  throne  stands  Cardinal 
Mendoza  presenting  Columbus,  who  is  poorly  clad,  to  the  Catholic  Kings. 


THE  COLUMBUS  GALLERY.  135 

The  figures  of  the  King  and  Queen  are  copied  from  well-known  portraits,  and 
that  of  the  Admiral  looks  very  much  like  the  one  in  the  Naval  Museum.  The 
dresses  of  all,  as  well  as  the  accessories,  are  strictly  accurate. 

7.  BKOZIK,  (VACZLAV.)    COLUMBUS  SOLICITING  AID  FROM  ISABELLA. 


This  fine  painting  is  the  work  of  the  famous  Bohemian  artist  Brozik,  a  dis 
ciple  of  Karl  Piloty.  In  a  large  and  magnificently  furnished  chamber  of  the 
Palace  at  Cordova,  Columbus  stands  before  a  table  at  which  Ferdinand  and 
Isabella  are  seated.  On  it  are  a  number  of  charts  and  the  caskets  containing 


136  THE  COLUMBUS  GALLERY. 

the  Queen's  jewels.     With  the  left  hand  the  Genoese  is  pointing  to  a  chart, 
while  the  other  is  raised.     He  is  surrounded  by  monks,  high  Church   digni 
taries,  learned  men   and  others,    who,    with  the   Kings   are  listening  to  him 
attentively. 

All  the  figures  are  of  life  size  and  the  artistic  work  is  beautifully  executed, 
but  the  details  are  the  fruit  of  the  artist' s  imagination,  including  the  caskets 
containing  the  famous  jewels,  which  had  no  connection  with  this  scene,  and 
which  have  been  introduced  purely  for  sensational  effect.  (Cut  No.  79.) 

8.  LEUTZE,  (EMANUEL.)      COLUMBUS  BEFORE  THE   QUEEN.     In   the  Diis- 
seldorf  Gallery. 

9.  COLLIN,  (ALEXANDER.)     FIRST  ARRIVAL  OF  COLUMBUS  IN  SPAIN,  (1857.) 

10.  ROTHERMEL,  (PETER  F.)     COLUMBUS  BEFORE  ISABELLA,  (1858.) 

11.  ROBERT-FLEURY,  (JOSEPH  N.)     CHRISTOPHER  COLUMBUS  RECEIVED  AT 
THE  COURT  OF  SPAIN.     (1848.) 

IV.  Ferdinand  never  looked  favorably  on  the  projects  of  Columbus,  but 
Isabella,  more  enthusiastic  and  sanguine  than  her  covetous  husband,  interested 
herself  in  the  undertaking  of  the  bold  navigator  in  the  threadbare  cloak  and 
ordered  a  consultation  to  be  held  shortly  after,  for  the  purpose  of  investigating 
and  reporting  to  her  on  his  project. 

Unfortunately  this  conference  was  presided  over  by  a  man  who,  after  the 
first  interview  with  Columbus,  became  one  of  his  bitterest  enemies,  and  who 
always  opposed  the  Admiral  apparently  without  reason.  He  was  no  less  a 
man  than  the  favorite  confessor  of  the  Queen,  and  a  man  of  great  influence 
and  integrity,  Fray  Hernando  de  Talavera,  who  was  subsequently  the  iirst 
Archbishop  of  Granada.  The  meetings  were  held  at  Cordova,  and  on  the 
return  of  the  Court  to  that  city,  an  unfavorable  report  was  made  to  the  Kings. 
The  Queen  did  not  act  as  Talavera  and  Ferdinand  desired,  and  instead  of 
discarding  Columbus  entirely,  she  gave  him  evasive  answers,  putting  off  a 
positive  decision  for  a  future  day. 

But  Columbus  did  not  give  up  his  plans  :  in  the  meantime,  he  had  made  a 
host  of  influential  and  enthusiastic  friends,  who  had  decided  to  assist  him  in 
the  carrying  out  of  his  great  undertaking,  and  as  the  Queen  really  favored 
him,  thanks  to  the  untiring  zeal  of  his  patrons,  another  commission  was 
appointed,  and  fortunately  for  him  on  this  occasion,  the  president  was  one  of 
his  most  intimate  friends,  Fray  Diego  de  Deza,  tutor  of  the  heir  to  the  crown, 
and  the  other  members  were  the  professors  of  the  University  of  Salamanca,  the 
centre  of  learning  in  Spain 

An  error  of  the  author  of  the  Historie  has  led  nearly  all  later  writers  to 
confound  the  Junta  presided  over  by  the  Prior  of  Prado,  Hernando  de  Tala- 


THE  COLUMBUS  GALLERY.  137 

vera  at  Cordova,  and  the  conferences  which  took  place  at  Salamanca,  in  the 
church  of  the  Dominican  Convent,  then  called  San  Esteban.  The  first  Junta 
was  composed  of  Councillors  to  the  Crown  and  some  cosmographers  :  the 
second  was  composed  of  Dominican  friars  and  the  professors  at  the  University 
of  Salamanca.  The  author  of  the  Historic  only  mentions  one  Junta  and  adds 
that  "the  persons  appointed  by  the  Prior  of  Prado  were  ignorant,1'  a  remark 
which  he  would  not  have  made  of  the  Faculty  of  Salamanca,  but  Ulloa's 
version  of  Fernando' s  book  is  so  full  of  corruptions  and  interpolations,  either 
by  Ulloa  himself  or  by  others,  that  at  present  the  work  which  Irving  once 
called  "  the  corner-stone  of  the  history  of  the  Discovery,"  carries  little  weight 
as  an  authority.  These  events  are  illustrated  in  the  following  series  of 
paintings  :- 

12.  LEUTZE,  (EMANUEL.)    COLUMBUS  BEFORE  THE  COUNCIL  OF  SALAMANCA. 
This  painting  was  in  the  Diisseldorf  Gallery,  but  I  do  not  know  its  present 

whereabouts.     (1841.) 

13.  ROTTING,  (JULIUS.)     COLUMBUS  BEFORE  THE  COUNCIL  AT  SALAMANCA, 
(1851.)  Dresden  Gallery. 

14.  PLUDDEMANN,  (HERMANN.)     COLUMBUS  DISPUTING  WITH  THE  JUNTA 
AT  SALAMANCA. 

15.  BARABINO,  (NiccoLo.)  COLUMBUS  BEFORE  THE  COUNCIL  OF  SALAMANCA. 
This  is  perhaps,  the  most  beautiful  picture  ever  painted,  referring  to  the 

history  of  Columbus,  but  it  is  so  large  that  the  reductions  I  have  ordered  made 
of  it  are  not  satisfactory.  I  have  therefore,  only  taken  from  it  the  magnificent 
figure  of  Columbus,  which  I  have  reproduced  on  p.  41  of  this  work  under  No. 
23.  and  on  p.  40  I  have  given  a  full  description  of  the  whole  picture. 

16.  IZQUIERDO,  (D.  V.)     COLUMBUS  BEFORE  THE  DOMINICANS. 

This  picture,  which  is  the  work  of  the  famous  Spanish  artist  Izquierdo, 
represents  a  scene  in  the  Dominican  Convent  at  Salamanca.  Columbus  stands 
in  the  centre  of  a  group  of  monks.  There  are  the  usual  accessories  of  the 
globe,  charts,  MSS.,  etc.,  which  appear  in  other  pictures.  He  stands  with 
extended  hand,  addressing  the  monks  on  the  feasibility  of  his  projects.  The 
features  of  his  face  correspond  with  the  generally  accepted  type,  but  he  is 
bald-headed,  and  this  is  the  only  picture  of  the  famous  Genoese,  in  which  I 
have  seen  him  thus  represented.  He  also  wears  a  full  white  beard  and  mus 
tache.  (Cut  No.  80.) 

17.  MASO,  (FELIPE.)     COLUMBUS  BEFORE  THE  DOMINICANS. 

This  well-known  painting  is  from  the  brush  of  Felipe  Maso,  a  Catalonian 
artist,  and  was  painted  about  thirty  years  ago.  Columbus  is  standing  behind 
a  table  in  a  room  of  the  Dominican  Convent  at  Salamanca.  In  front  of  him  is 


138 


THE  COLUMBUS  GALLERY. 


THE  COLUMBUS  GALLERY. 


139 


140  THE  COLUMBUS  GALLERY. 

a  globe  by  means  of  which  he  is  explaining  his  plans  to  a  group  of  monks,  who 
are  intently  listening  to  him  with  expressions  on  their  faces  of  more  or  less 
incredulity.  In  the  foreground  are  a  sleeping  page  and  dog,  with  a  kettle 
boiling  on  a  brazier.  The  features  of  the  great  Genoese  are  typically  correct, 
while  the  dress  and  other  details  in  the  picture  are  historically  accurate. 

18.  MERINO,  (IGNACIO.)    COLUMBUS  BEFORE  THE  FACULTY  OF  THE  UNIVER 
SITY  OF  SALAMANCA. 

This  is  a  noble  picture  and  accurate  in  its  smallest  details.  Barabino  misled 
by  the  Historic  of  Fernando  Colombo,  made  the  confusion  already  mentioned 
and  in  his  grand  canvas  depicted  Columbus  in  the  presence  of  a  number  of 
ignorant  and  prejudiced  monks.  The  better  informed  Peruvian  artist  showed 
the  future  Discoverer  before  an  assemblage  of  more  or  less  prejudiced  men, 
but  possessing  all  the  learning  and  science  of  the  times.  They  do  not  laugh 
at  him,  they  wonder,  they  doubt,  and  think  deeply  over  the  new  theories  pro 
pounded  by  the  energetic  and  eloquent  stranger  who  is  trying  to  eradicate 
from  their  minds  long  cherished  ideas.  The  faces  of  all  of  his  hearers  express 
the  deepest  interest.  They  are  carefully  consulting  books,  maps  and  globes 
and  are  discussing  the  feasibility  of  his  plans.  It  is  almost  possible  to  dis 
tinguish  those  who  espouse  his  theories  from  those  who  are  opposed  to  them. 
The  figure  of  Columbus  in  the  centre  has  all  his  well-known  characteristics, 
and  is  really  splendid.  The  grouping  cannot  be  improved  and  all  the  details 
of  the  picture  are  of  the  greatest  excellence.  I  have  read  that  the  portraits  of 
Cardinal  Jimenez  de  Cisneros  and  Fray  Diego  de  Deza,  and  other  distinguished 
ecclesiastics  of  the  time  are  found  in  the  picture.  Cardinal  Jimenez  de  Cisneros 
is  the  only  one  I  have  been  able  to  identify,  but  as  I  am  not  familiar  with  the 
portraits  of  the  other  persons,  I  have  been  unable  to  find  them. 

The  engraving  which  I  have  is  so  large  that  I  cannot  reproduce  it,  as  the 
reduction  to  the  size  of  these  pages  is  very  indistinct. 

V.  The  result  of  the  conferences  at  Salamanca  was  very  different  from  that 
of  the  Junta  at  Cordova,  as  after  the  latter  Columbus  became  a  member  of  the 
royal  retinue,  and  received  from  time  to  time  certain  sums  of  money  for  his 
maintenance.  The  Queen  was  well  disposed  towards  him,  and  endeavored  to 
come  to  some  agreement  with  him,  but  the  pretensions  of  the  Admiral  were  so 
unreasonable,  that  finally  in  1492,  the  Queen  positively  rejected  his  proposals. 
Columbus  then  left  the  Court  and  went  to  Huelva  with  his  younger  son,  Diego, 
probably  with  the  intention  of  leaving  the  boy  with  a  brother-in-law  named 
Muliar,  who  resided  there,  when  by  chance  or  because  he  had  heard  of  the 
geographical  knowledge  of  Fray  Juan  Perez,  the  Prior  of  the  Franciscan  Con 
vent  at  La  Rubida,  near  Huelva,  who  had  been  confessor  of  the  Queen,  he 


THE  COLUMBUS  GALLERY.  141 

stopped  at  the  Convent,  asking  bread  and  water  for  his  child.  The  Prior  saw 
him,  asked  him  who  he  was  and  whence  he  came,  and  Columbus  explained  his 
projects  and  disappointments  to  him  at  length.  Struck  by  the  appearance 
and  conversation  of  the  stranger,  the  good  father  offered  him  an  asylum,  and 
sent  for  some  friends  who  resided  at  Palos,  among  them  the  physician  Garci- 
Fernandez  and  the  pilot  Sebastian  Rodriguez,  to  whom  he  introduced  the 
Genoese.  After  long  consultations,  they  decided  to  send  Sebastian  Rodriguez 
bearing  a  letter  from  Fray  Juan  Perez  to  the  Queen  warmly  recommending 
the  enterprise. 

While  waiting  the  return  of  Rodriguez  with  a  reply  from  Isabella,  many 
conferences  were  held  at  La  Rabida,  at  which  the  brothers  Pinzon  and  other 
mariners  of  Palos  were  present  by  invitation  of  the  Prior. 

The  messenger  returned  quickly  bringing  with  him  a  sum  of  money  for 
Columbus,  to  enable  him  to  buy  a  horse  and  appear  at  the  Court  suitably 
dressed.  The  future  Admiral  then  returned  to  the  camp  before  Granada, 
where  the  Catholic  Kings  were  holding  their  Court. 

Painters  and  poets  have  portrayed  on  canvas  and  immortalized  in  verse, 
this  episode  in  the  life  of  Columbus,  but  unfortunately  historians,  desiring  to 
lend  a  poetical  coloring  to  these  events,  have  chronicled  them  in  such  manner 
that  this  portion  of  the  biography  of  Columbus  is  filled  with  innumerable  con 
tradictions. 

The  paintings  describing  this  incident  in  the  life  of  the  Admiral,  will  be 
found  under  the  following  numbers. 

19.  COLUMBUS  DEMANDING  BREAD  AND  WATER  FOR  ins  SON  AT  THE  CON 
VENT  OF  LA  RABIDA. 

This  event  is  supposed  to  have  taken  place  in  1491,  after  the  Queen  had 
declined  any  further  negotiations  with  Columbus,  and  the  despairing  and 
broken-hearted  man  had  decided  to  pass  to  France  or  England.  In  the  fore 
ground  are  Columbus  and  Fray  Juan  Perez,  engaged  in  earnest  conversation  : 
the  former  is  represented  with  white  hair  and  holds  a  chart  in  his  hand.  In 
the  back  ground,  is  a  monk  serving  the  boy  with  bread  and  water. 

The  painting  is  in  the  Convent  of  La  Rubida  and  is  the  work  of  an 
unknown  artist. 

20.  HURLSTONE,  (F.  Y.)     COLUMBUS  DEMANDING  ALMS. 

21.  LEUTZE,  (EMANUEL)      COLUMBUS  AT  THE  GATE  OF  THE  MONASTERY  OF 
LA  RABIDA,  (1844.) 

22.  MERCADK,  (BENITO.)     COLUMBUS  BEGGING  FOR  BREAD  AT  THE  GATE  OF 
THE  CONVENT  OF  LA  RABIDA. 


142 


THE  COLUMBUS  GALLERY. 


23.  WILKIE,  (Sin  DAVID.)     COLUMBUS  AT  LA  RABIDA. 

This  painting  is  at  present  in  the  Halford  collection.  The  great  master 
received  500  guineas  for  his  work.  Of  course,  it  has  great  artistic  merit,  but 
is  very  inaccurate  in  detail,  both  as  to  the  features  of  Columbus  and  the  cos 
tumes  of  the  times.  The  painting  is  entirely  imaginary,  and  has  no  historical 
value.  (Cut  No.  82.) 

24.  LANGSE.     COLUMBUS  AT  LA  RABIDA. 


82 — WILKIE. — COLUMBUS  AND  THE  PRIOR. 

This  painting  was  exhibited  at  the  Paris  Exposition  of  1867,  and  was  much 
admired  :  it  was  bought  at  a  high  price  for  an  English  gentleman.  I  have  not 
been  able  to  obtain  any  f  urtlier  particulars  regarding  it. 

25.  PLUDEMANN,  (HERMANN.)     COLUMBUS  AT  LA  RABID  A,  (1845.) 

26.  LUCY,  (CHARLES.)    COLUMBUS  AT  LA  RABIDA,  (1S75.) 

27.  GUTEPBOCK,  (LEOPOLD.)    COLUMBUS  AT  LA  RABIDA. 

28.  DEIIOHENCQ,  (E.  A.)  COLUMBUS  AT  THE  CONVENT  OF  LA  RAHIDA,  (1864.) 

29.  MASO,  (FELIPE.)     COLUMBUS  AT  LA  RABIDA,  (1884.) 

30.  COLUMBUS  EXPLAINING  ins  PLANS  TO  THE  MONKS  AT  LA  RABIDA. 

In  this  picture  Columbus  is  represented  in  a  room  at  La  Rabida  explaining 
his  plans  to  I1  ray  Juan  Perez  and  the  two  Pinzons.  He  stands  at  a  table 
holding  a  globe  to  which  he  is  pointing.  Behind  him  his  son  is  listening  and  in 
the  background  are  two  monks  standing  on  a  balcony  probably  discussing  the 


THE  COLUMBUS  GALLERY.  143 

matter.  The  painter  of  this  picture  is  also  unknown,  hut  it  is  like  the  first  in 
the  Convent  of  La  Rabida. 

'61.  MERINO,  (!GNACIO.)     COLUMBUS  AT  LA  RABIDA. 

This  beautiful  painting  was  exhibited  at  the  Paris  Exposition,  in  1855,  and 
was  greatly  admired.  I  am  told  that  it  is  now  in  a  private  gallery  in  the 
United  States,  but  I  have  not  been  able  to  ascertain  the  name  of  the  owner. 

32.  CANO,  (ALONSO.)     COLUMBUS  AT  LA  RABIDA. 

This  is  another  purely  imaginary  portrayal  of  the  famous  scene  at  the 
Convent  of  La  Rabida,  when  Columbus  explained  his  project  to  the  monks. 
He  is  represented  with  white  hair  and  beard,  while  the  monks  wear  full  beards 
and  the  laymen  beards  of  different  styles.  The  picture  is  worthy  of  the  artist 
and  one  of  the  best  of  the  modern  Spanish  Historical  School.  (Cut  No.  83.) 

YI.  On  his  return  to  Court  Columbus  was  heartily  welcomed  and  negotia 
tions  were  far  advanced  when  his  extravagant  pretensions  again  prevented 
an  agreement  being  made.  He  left  the  camp  and  went  to  Cordova  with  the 
intention  of  taking  his  other  son  and  departing  for  France  or  England.  But 
the  efforts  of  his  friends  at  last  prevailed  with  the  Queen  and  she  sent  a  mes 
senger  after  Columbus,  who  overtook  him  at  Puente  de  Pinos,  a  long  distance 
from  the  camp,  and  with  the  assurance  that  his  conditions  were  accepted,  he 
returned  to  Santa  Fe.  This  event  is  graphically  portrayed  in  the  following 
painting. 

33.  HEATON,  (A.  G.)  RECALL  OF  COLUMBUS. 

This  picture  is  in  the  Capitol  at  Washington,  and  has  been  reproduced  in 
the  new  issue  of  Columbian  stamps.  It  is  a  beautiful,  but  entirely  imaginary 
work. 

VII.  The  agreement  was  signed,  Columbus  obtaining  all  the  honors, 
dignities  and  interest  for  which  he  had  asked.  The  funds  of  the  Spanish 
Treasury  had  been  entirely  exhausted  by  the  protracted  wars  which  resulted 
in  the  expulsion  of  the  Moors,  and  Luis  de  Santangel,  the  treasurer  of  Aragon, 
offered  to  advance  the  sum  required  to  the  Queen.  There  is  no  painting  com 
memorating  this  event,  but  in  the  great  monument  at  Barcelona,  his  statue 
and  the  inscription  do  him  ample  justice.  By  a  perversion  of  this  fact 
an  anecdote  was  invented  many  years  afterwards  which  relates  that  the 
Queen  offered  to  pawn  her  jewels  in  order  to  raise  the  money  required  for  the 
enterprise,  but  the  eminent  American  critic  Harrisse,  has  proven  that  such 
an  offer  was  never  made,  the  Queen's  jewels  being  already  in  the  hands  of  the 
money-lenders,  and  Mendez  Duro,  a  very  distinguished  Spanish  naval  officer 
and  the  greatest  apologist  of  Isabella,  has  published  a  pamphlet  showing  that 


144 


THE  COLUMBUS  GALLERY. 


the  whole  story  is  false.  Notwithstanding  this,  there  is  a  beautiful  painting 
representing  this  apocryphal  event  by  an  eminent  Spanish  artist  and  the 
United  States  government  has  made  a  great  mistake  in  perpetuating  a  proven 


falsehood  by  the  issue  of  a  one  dollar  stamp  commemorating  the  alleged 
incident :  thus  showing  on  the  part  of  the  officials  who  ordered  the  said  issue, 
either  ignorance  or  far  more  love  for  art  than  for  historical  truth. 


THE  COLUMBUS  GALLERY.  145 

34.  MU^OZ-DEGRAIN,  (ANTONIO.)     ISABELLA  OFFERING  HER  JEWELS  IN 
AID  OF  THE  ENTERPRISE  OF  COLUMBUS. 

This  picture  is  a  really  beautiful  one  and  is  strictly  accurate  in  the  minutest 
details.  It  is,  however,  much  to  be  regretted  that  so  much  talent  has  been 
squandered  in  the  depiction  of  an  event  which  never  took  place,  thus  helping 
to  falsify  history. 

VIII.  Columbus  having  obtained  what  he  desired,  then  started  for  Palos, 
with   authority   to  impress   two   caravels  and    the   crews   for  the  enterprise. 
The  following  picture  depicts  the  issuing  of  the  edict  calling  for  men  for  the 
expedition. 

35.  PUBLICATION   OF  THE  ROYAL   EDICT  AT  PALOS,    RELATIVE  TO   THE 
ARMAMENT  OF  THE  CARAVELS. 

This  painting  is  also  in  the  Convent  of  La  Rabida,  and  appears  to  be  by  the 
same  hand  as  the  two  preceding  ones.  The  scene  is  laid  in  the  church  of  the 
Convent.  In  the  foreground,  his  face  radiant  with  joy  stands  Columbus  amid 
a  group  of  his  friends  and  patrons.  In  the  pulpit,  the  messenger  from  the 
Catholic  Kings  is  reading  the  edict  for  the  armament  of  the  caravels  and  the 
impressment  of  the  crews. 

IX.  The    Kings  had  agreed  to   place  two-thirds  of  the  sum  required    to 
defray  the  expenses  of  the  undertaking  at  the  disposal  of  Columbus,  and  he 
was  to  raise  the  other  third.  Fortunately  for  him,  his  guardian  angel,  the  good 
Prior  of  La  Rabida,  had  paved  his  way  by  introducing  him  to  the  brothers 
Pinzon,  three  rich  and  influential  shipowners  and  navigators  of  Palos.     They 
entered  energetically  into  the  plans  of  Columbus,  looking  upon  it  as  a  very 
risky  but  profitable  commercial  venture,  and  they  obtained  the  vessels,  the 
men  and  the  money  required,  upon  conditions  which  have  not  been  handed 
down  to  posterity.     The  expedition  was  fitted  out  by  them  in  the  best  style  of 
the  time,  and  with  vessels  well  adapted  to  their  purpose.     On  the  3rd  day  of 
August,  1492,  they  sailed  from  the  port  of  Palos,  after  having  duly  confessed 
and  partaken  of  the  Holy   Communion,   and  bidden  a  sad   farewell  to  their 
families.     The  parting  was  more  touching  as  many  of  the   members  of  the 
expedition  had  been  impressed,  and  also  because  they  sailed  on  a  Friday  and 
did  not  expect  to  return  home  safely,  as  it  is  considered  a  day  of  bad  omen  by 
sailors.     This  departure  from  Palos  has  been  a  source  of  inspiration  for  many 
eminent  artists  as  will  be  seen  by  the  following  paintings  : 

36.  SEGNI.     DEPARTURE  OF  COLUMBUS,  PELOSO  GALLERY,  GENOA. 

This  old  picture  is  mentioned  in  a  guide  book  of  the  city  of  Genoa,  but 
without  any  description  or  notice  whatever. 


146 


THE  COLUMBUS  GALLERY. 


oo 


THE  COLUMBUS  GALLERY.  147 

37.  BALACA,  (RICARDO.)     COLUMBUS  TAKING  LEAVE  OF  THE  PRIOR. 

This  graphic  representation  of  Columbus  bidding  farewell  to  his  friend, 
Fray  Juan  Perez,  at  Palos,  is  full  of  life  and  pathos.  In  the  immediate  fore 
ground,  is  a  group  of  the  relatives  of  the  crews  and  their  friends.  There  is  a 
weeping  wife  and  a  little  boy  taking  leave  of  the  husband  and  father,  while 
directly  behind  this  group  is  the  central  figure,  Columbus,  clasping  the  hand 
of  Fray  Juan  Perez.  His  boat  is  at  the  wharf,  waiting  to  convey  him  to  the 
Santa  Maria,  which  with  the  other  caravels,  is  in  the  background  with  their 
sails  set  in  readiness  to  depart  on  their  eventful  expedition.  The  painting  is 
the  work  of  the  Spanish  artist,  R.  Balaca,  and  was  painted  by  order  of  the 
late  Duke  of  Montpensier,  who  married  a  sister  of  Isabella,  ex-Queen  of  Spain. 
The  composition  and  grouping  are  admirable.  (Cut  No.  84.) 

38.  THE  EMBARKATION  AT  PALOS. 

In  the  foreground,  stands  Columbus  in  his  boat,  taking  farewell  of  his 
stanch  friend,  Fray  Juan  Perez.  In  the  background,  are  the  caravels,  the 
shore,  and  a  number  of  friends  of  the  departing  adventurers  and  the  Convent 
of  La  Rabida. 

This  painting  appears  to  be  from  the  same  brush  as  the  three  others  in  the 
Convent  of  La  Rabida,  but  none  of  them  have  any  merit  either  historic  or 
artistic. 

39.  MERINO,  (!GNACIO.)     COLUMBUS  BIDDING  FAREWELL  TO  HIS  SONS. 
The  distinguished  Peruvian  artist,  Merino,  painted   this  beautiful  picture 

which  obtained  a  prize  in  the  Paris  Salon  (1861),  and  was  warmly  commended 
by  the  Press.  Unluckily,  I  have  not  been  able  to  find  any  detailed  description 
of  it,  but  in  view  of  the  other  works  of  Merino  referring  to  American  history, 
I  am  inclined  to  believe  that  he  has  been  as  accurate  in  this  as  in  his  other 
works. 

40.  GISBERT,  (ANTONIO.)     DEPARTURE  OF  COLUMBUS. 

This  celebrated  picture  of  the  departure  of  Columbus  from  Palos  is  from 
(he  brush  of  the  eminent  Spanish  artist  Gisbert.  In  the  foreground,  are 
some  kneeling  figures,  with  Fray  Juan  Perez  blessing  the  expedition,  while 
immediately  in  front,  Columbus,  who  is  in  his  boat,  is  kneeling,  his  hand  laid 
on  his  breast.  Directly  behind  him,  is  a  group  of  officers,  knights  and  soldiers, 
while  his  sailors  are  bending  to  their  oars,  preparing  to  convey  him  to  the 
caravels,  in  the  background,  with  their  sails  set.  '  (Cut  No.  85.) 

41.  LEUTZE,    (EMANUEL.)     DEPARTURE   OF  COLUMBUS   FROM   PALOS,  (two 
with  some  slight  variations,)  (1853.) 

42.  ROTHERMEL,   (PETER  F.)     EMBARKATION  OF  COLUMBUS,    (1870.)  Penn 
sylvania  Academy. 


1O 
CO 


THE  COLUMBUS  GALLERY.  140 

X.  The  expedition  started  for  the  Canaries  on  the  3rd  day  of  August,  1492. 
After  touching  at  these  Islands  on  the  6th  of  September,  they  steered  a  direct 
westerly  course.     I  think   it   proper  to  introduce   here  the   two   allegorical 
engravings   published   by   the   famous  artist,    De   Bry,    and    two   paintings 
referring  to  the  voyage. 

43.  DP:  BRY,  (THEODORE.)    THE  DE  BRY  ALLEGORY.     COLUMBUS  AT  SEA. 
This  quaint  engraving  shows  the  Admiral  standing  in  the  bow  of  his  ship, 

which  is  near  the  shore.  He  is  clad  in  a  long  mantle  and  undercoat,  while 
his  armor  lies  at  his  feet,  and  his  standard  is  floating  from  the  foremast. 
Behind  him  is  Minerva,  carrying  a  spear  and  a  shield  with  the  head  of 
Medusa  in  the  centre,  presenting  a  laurel  branch  to  Columbus.  Behind  the 
goddess  is  Mars  in  full  armor,  standing  on  the  back  of  a  turtle  for  a  chariot, 
and  drawn  by  three  lions.  Near  him,  are  two  Sirens,  whilst  at  the  head  of 
the  vessel,  are  a  Mermaid  and  a  Triton  acting  as  pilots.  In  the  far  distance, 
is  a  flock  of  Harpies,  typifying  the  sinister  influences  with  which  the  Genoese 
had  to  contend.  In  the  East  is  the  rising  sun  and  the  territory  which  he  had 
just  discovered.  All  that  can  be  said  of  it  is  that  the  engraver  had  a  fertile 
imagination  and  that  the  execution  of  the  design  is  beautiful.  (Cut  No.  86.) 

44.  DE  BRY,  (THEODORE.)    COLUMBUS  AT  SEA. 

This  engraving,  which  is  also  the  work  of  De  Bry,  is  a  companion  picture 
to  the  foregoing,  and  is  very  similar  to  it,  as  may  be  seen  from  a  comparison  of 
both. 

In  this  engraving,  however,  Columbus  appears  clad  in  full  armor  as  an 
Admiral.  (Cut  No.  87.) 

45.  COLIN,  (ALEXANDER.)    FIRST  VOYAGE  OF  DISCOVERY. 

In  the  catalogue  of  the  Paris  Exposition  of  1855,  this  picture  is  mentioned 
but  without  any  further  particulars. 

46.  MASO,  (FELIPE .)     COLUMBUS  AT  SEA,  (1884  ) 

This  picture  was  sold  to  one  of  the  South  American  Republics,  but  to 
which  one  I  am  unable  to  say. 

XI.  At  length  in  the  early  dawn  of  October  12th,  1492,  land  was  sighted. 
I  have  found  the  following  paintings  of  this  momentous  event. 

47.  PILOTY,  (KARL  VON.)    THE  DISCOVERY  OF  AMERICA   BY   COLUMBUS. 
(1865  ) 

This  painting  which,  notwitstanding  its  theatrical  and  sensational  character, 
possesses  remarkable  merit,  is  in  the  possession  of  Count  von  Schaack,  at 
Munich. 

It  has  the  vigorous  coloring  and  perfect  design,   so  characteristic  of  the 


150 


THE  COLUMBUS  GALLERY 


|1||^^ 


BQ 
S 

GO 


THE  COLUMBUS  GALLERY.  151 

eminent  artist.  It  is  to  be  regretted  that  so  prominent  a  painter  as  Piloty  should 
not  have  taken  the  trouble  to  render  his  painting  historically  accurate.  All 
the  figures,  dresses  and  accessories,  though  admirable  from  an  artistic  point 
of  view,  are  entirely  imaginary.  It  was  painted  in  1866. 

48.  POWELL,   (WILLIAM  H.)     COLUMBUS  IN  SIGHT  OF  LAND. 

I  have  never  seen  anything  but  a  ver}^  small  and  indifferent  cut  of  this 
picture,  but  I  take  it  for  granted  that  it  may  possess  some  merit,  since  it  has 
been  reproduced  in  the  series  of  Columbian  stamps  issued  by  the  government 
of  the  United  States. 

49.  JOLLIVET,    (PIERRE  JULES.)      CHRISTOPHER  COLUMBUS  DISCOVERING 
AMERICA,  (1833  ) 

50.  ESPALTER  Y  RULL,  (JOAQUIN.)     DISCOVERY  OF  AMERICA,  (1877.) 

51.  RUBEN,  (CHRISTIAN.)     COLUMBUS  DISCOVERING  LAND,  (1843.)  Prague 
Gallery. 

52.  PLUDEMANN,    (HERMANN.)      COLUMBUS    DISCOVERING    LAND,    (1836.) 
National  Gallery,  Berlin.     Columbus  leaning  against  a  mast,  raising  his  eyes 
to  heaven,  while  the  officers  and  crew  prostrate  themselves  before  him,  and  the 
sailors  greet  the  land  with  passionate  gestures. 

XII.  On  the  morning  of  the  12th  of  October,  1492,  the  navigators  landed  on 
an  island  which  Columbus  named  San  Salvador,  and  which  was  called  by  the 
natives  Guanahani.  The  determination  of  the  exact  location  of  this  island  has 
caused  the  expenditure  of  much  money,  brains  and  labor  on  the  part  of  inves 
tigators.  The  number  of  books,  pamphlets,  reviews,  articles,  etc.,  on  this 
subject  is  astonishing.  I  believe  that  the  very  first  critical  historian  who 
undertook  to  fix  its  exact  position  on  the  map,  the  eminent  author  of  the 
Historia  del  Nuevo  Mundo,  Juan  Bautista  Munoz,  determined  it  accurately, 
declaring  that  Guanahani  was  Watling's  Island.  Further  researches  by  well- 
known  authors,  especially  those  of  Captain  Becher  and  Rudolph  Cronau,  seem 
to  confirm  this  assertion  conclusively.  The  latter  has  explained  all  the  discre 
pancies  in  the  log-book  of  Columbus,  by  showing  that  the  Admiral  landed  on 
the  western  coast  of  the  island,  having  been  carried  by  the  currents  beyond 
its  northern  side,  where  he  probably  saw  the  light  to  which  he  refers,  shortly 
before  midnight  on  October  llth,  1492. 

Many  paintings  have  been  made  representing  the  first  landing,  and  I  will 
describe  those  which  are  known  to  me. 

53.  SOLIMENE,  (FRANCESCO.)     THE  LANDING  OF  COLUMBUS  ON  AMERICAN 
SOIL. 

The  famous  Neapolitan  artist  Solimene,  painted  this  work  at  the  beginning 


152 


THE  COLUMBUS  GALLERY. 


CO 


THE  COLUMBUS  GALLERY.  153 

of  the  last  century  in  the  palace  of  the  Doge.  It  was  unfortunately  destroyed 
in  a  fire  in  1779.  The  sketches  had  been  preserved,  and  Carlo  Giuseppe  Ratti, 
a  disciple  of  Mengs,  was  chosen  at  the  suggestion  of  his  master  to  reproduce 
it,  which  he  did  in  the  most  perfect  manner,  even  reproducing  the  ana 
chronisms  in  the  original  Solimene.  It  is  a  semicircular  picture,  in  which 
Columbus  is  represented  in  the  act  of  planting  the  Standard  of  the  Cross,  and 
taking  possession  of  the  land  in  the  name  of  the  Kings  of  Spain.  The  figure 
of  Faith  encompassed  by  clouds  and  surrounded  by  angels,  stands  at  the 
head  of  the  picture,  and  at  the  sides  are  graceful  groups  of  figures  which, 
though  they  may  charm  the  eye  of  the  artist,  would  not  be  appreciated  by  the 
historian,  as  not  only  the  scenery,  but  the  figures,  costumes,  animals  and  all 
the  accessories  are  entirely  imaginary. 

54.  CARLONE,  (GIAMBATTISTA.)     COLUMBUS  PLANTING  THE  CROSS  ON  THE 
FIRST  LAND  DISCOVERED. 

Fresco  painted  in  1665  in  the  chapel  of  the  Ducal  Palace  at  Genoa. 

The  design  is  excellent :  Columbus  is  in  the  foreground  sustaining  a  large 
wooden  cross,  while  his  followers  are  planting  it  firmly  by  means  of  wedges 
driven  into  the  ground.  On  the  left  of  the  background,  are  the  caravels, 
depicted  as  Genoese  vessels  of  the  XYIIth  century.  On  the  right,  are  stone 
altars,  human  remains,  tents  and  soldiers.  The  types  and  attire  of  Columbus 
and  his  soldiers  are  fairly  accurate,  and  the  powerful  head  of  the  Admiral  is 
beautiful  and  has  a  grand  expression.  According  to  my  information  this 
fresco  is  still  in  good  preservation  and  its  colors  are  fairly  fresh. 

55.  VANDERLYN,  (JOHN.)    THE  LANDING  OF  COLUMBUS,  (1776-1852.) 
The  Landing  of  Columbus,  by  Vanderlyn,  which  has  been  reproduced  in  a 

great  number  of  works  especially  educational,  is  one  of  the  eight  panels  of 
celebrated  paintings  now  in  the  Rotunda  of  the  Capitol  at  Washington,  where 
it  was  painted  in  1842.  This  picture  represents  Columbus  in  the  act  of  landing, 
and  taking  possession  of  the  country  in  the  name  of  the  Catholic  Kings :  it 
seems  to  have  been  the  intention  of  the  painter  to  portray  Columbus,  Martin 
Alonzo  Pinzon,  Vicente  Yanez  Pinzon,  Rodrigo  Escovedo,  Rodrigo  Sanchez, 
Alonzo  de  Ojeda,  and  some  other  members  of  the  crew,  but  none  of  the 
portraits  is  worth  anything  historically  ;  among  those  who  are  represented 
is  a  friar,  and  it  is  a  well-known  fact  that  no  friar  came  to  America  with 
Columbus  on  his  first  voyage.  The  picture  is  tolerably  good  from  an  artistic 
point  of  view,  but  historically  it  is  worthless.  One  of  the  vessels  of  the  expe 
dition  is  seen  in  the  distance,  and  the  foliage  of  the  tropics  is  fairly  well 
rendered,  in  the  large  trees  on  one  of  the  sides  of  the  picture.  (No.  88.) 


154 


THE  COLUMBUS  GALLERY. 


x 

X 


THE  COLUMBUS  GALLERY.  155 

56.  PUEBLA,    (DlOSCORO.)      LANDING    OF    COLUMBUS. 

This  painting  is  the  work  of  the  celebrated  Spanish  artist,  Dioscoro  Puebla, 
and  represents  the  landing  of  Columbus  on  the  Island  of  San  Salvador,  in  the 
early  morning  of  the  12th  October,  1492.  This  picture  is  well  worth  a  short 
description.  In  the  foreground,  and  the  central  figure,  is  the  kneeling  form 
of  the  Admiral,  who  has  just  landed,  saluting  with  his  sword  with  his  right 
hand  and  holding  a  standard  in  his  left.  To  the  right,  standing  under  a  banana 
tree,  his  left  hand  outstretched,  and  raising  a  crucifix  in  the  right,  is  a  friar. 
In  the  rear  of  these  two  principal  figures,  are  the  other  members  of  the 
expedition,  in  the  act  of  landing  on  the  newly-discovered  territory.  In 
the  background,  are  the  sails  and  masts  of  the  caravels.  There  is  only  one 
inaccuracy  in  the  picture,  which  is  the  figure  of  the  friar,  as  Columbus  was 
not  accompanied  by  any  ecclesiastic  on  this  voyage,  but  it  is,  nevertheless,  the 
work  of  a  master-hand.  (Xo.  89) 

57.  HAMMAN,  (EDOTJARD  I.)     LANDING  OF  COLUMBUS. 

This  picture  was  exhibited  at  the  Paris  Exposition  of  1855,  but  I  have  been 
unable  to  ascertain  its  present  whereabouts. 

58.  GLOSS,  (G.  ADOLF.)     LANDING  OF  COLUMBUS  AT  GUANAHANI. 

This  painting  is  in  the  Gallery  at  Stuttgart ;  I  have  an  engraving  of  it.  The 
artistic  treatment  is  good,  but  the  painter  unfortunately  paid  no  attention  to 
history  or  details  of  dress  and  other  essential  accessories. 

59.  BIERSTADT,  (ALBERT.)     LANDING  OF  COLUMBUS. 

This  picture  was  exhibited  at  the  Centennial  Exposition,  Philadelphia,  in 
1876,  but  I  know  nothing  further  regarding  it. 

60.  LEUTZE,   (EMANUEL  )     FIRST  LANDING   OF  COLUMBUS   IN  AMERICA, 
(1863.) 

61.  DIETIIK,  (ALFRED.)     LANDING  OF  COLUMBUS  AT  SAN  SALVADOR. 

XIII.  Columbus  continued  his  voyage  discovering  some  of  the  small  islands 
in  the  Bahamas,  next  Cuba,  and  then  steering  eastward  he  reached  Santo 
Domingo.  Pinzon  had  abandoned  him  with  the  Pinta,  and  on  the  night  of 
December  24th,  the  Admiral  went  to  bed.  The  helmsman  had  left  the  rudder 
in  charge  of  a  young  sailor  who  fell  asleep,  when  of  a  sudden,  the  vessel 
carried  by  the  currents  struck  on  a  rock  near  Cape  Haytien.  The  Admiral 
was  soon  on  deck  and  tried  to  save  his  ship,  but  the  panic-stricken  sailors 
abandoned  it,  and  in  a  short  time  it  was  totally  wrecked.  This  event  is  por 
trayed  in  the  following  picture. 

62.  CLOSS,   (G.  ADOLF.)     SHIPWRECK:  OF  THE  SANTA  MARIA. 

This  picture  is  very  effective  and  well-drawn.     The  bright,  sunlit  sky,  the 


156 


THE  COLUMBUS  GALLERY 


THE  COLUMBUS  GALLERY.  157 

sea,  the  rock,  the  shore,  sea-fowl  and  vegetation  of  Santo  Domingo,  are  well 
rendered.  The  Santa  Maria  is  accurately  painted,  but  the  scene  is  lighted 
by  brilliant  sunshine,  and  it  is  well-known  that  the  ship  was  wrecked  and 
abandoned  shortly  after  midnight. 

XIV.  It  is  not  my  intention  to  follow  Columbus  step  by  step.  I  will  there 
fore  proceed  to  the  next  important  event  depicted  by  painters,  viz.,  his  arrival 
at.  the  Court  of  the  Kings,  and  his  reception  by  them  at  Barcelona.  I  will  not 
describe  his  hazardous  return  voyage,  his  arrival  at  Palos,  nor  his  triumphal 
progress  through  Spain.  I  will  simply  refer  my  readers,  if  they  are  fond 
of  glowing  descriptions,  to  the  splendid  but  highly  colored  one  given  by 
Washington  Irving  in  his  now  somewhat  antiquated  Life  of  Columbus. 
Oviedo,  who  was  present  at  the  reception,  says  briefly  that  "Columbus  was  very 
kindly  and  graciously  received  by  the  Kings." 

Artists  have  given  full  scope  to  their  imaginations  in  the  portrayal  of  this 
event,  as  will  be  seen  by  the  following  paintings  : 

63.  PELAGIO,  (PELAGI.)    THE  RETURN  OF  COLUMBUS. 

By  order  of  the  Peloso  family,  this  celebrated  artist  painted  the  fresco 
which  can  yet  be  seen  at  the  Peloso  Gallery  in  their  palace  at  Genoa  ;  it  is  still 
in  very  good  condition  and  has  great  merit  as  a  work  of  art. 

64.  RECEPTION  OF  COLUMBUS  AT  BARCELONA. 

In  the  palace  of  L'  Annunziata,  Genoa,  which  formerly  belonged  to  the  Ferrari 
family  but  which  has  often  changed  hands  and  is  now  known  as  the  Coen, 
there  is  a  hall  solely  dedicated  to  the  memory  of  Columbus.  The  finest  of  its 
paintings  is  the  reception  of  Columbus  at  Barcelona,  but  unfortunately  I  have 
not  been  able  to  ascertain  the  name  of  the  artist.  It  is  full  of  life  and  move 
ment,  but  the  costumes  in  general  are  inaccurate.  The  fauna  and  flora  of  the 
New  World  are,  however,  well  portrayed  by  the  artist,  although  he  has  not 
confined  himself  to  tho  regions  discovered  by  Columbus,  but  has  depicted  the 
whole  natural  kingdom  from  Greenland  to  Tierra  del  Fuego.  As  a  woik  of 
art,  it  is  much  admired. 

65.  GANDOLFI.     RECEPTION  OF  COLUMBUS  AT  BARCELONA. 
Council  Hall  at  Genoa. 

This  is  a  very  dramatic  but  untruthful  picture.  In  the  Court  of  the  Palace 
at  Barcelona,  a  large  graded  platform  has  been  erected  specially  for  the 
occasion.  On  the  left,  in  the  background,  are  the  Kings  seated  on  chairs  of 
state  :  in  front  of  them,  in  the  center,  is  Columbus  standing  before  a  chair  in 
a  very  dramatic  attitude,  describing  his  voyage :  in  the  extreme  background, 
are  buildings,  ships  and  a  large  concourse  of  people,  greeting  Columbus  by 


pa 
S 
P 
^ 
o 
o 

fe 
o 

fc 

o 

— 

H 

eu 
w 

o 
w 

PS 


O5 


THE  COLUMBUS  GALLERY.  159 

waving  hands  and  handkerchiefs,  (handkerchiefs  were  not  known  at  that 
time.)  Behind  the  Admiral  and  in  front  of  him  in  the  foreground  are  the 
courtiers  and  attendant  ladies,  and  even  a  Moor  in  full  costume.  The  grouping 
is  excellent :  pages  are  presenting  fruits,  birds  and  other  products  of  the  lands 
discovered  to  the  Kings,  but  there  are  no  Indians  present.  The  people,  dresses, 
ornaments,  etc.,  are  anything  but  Spanish,  yet  the  picture  is  celebrated  for  its 
artistic  merit. 

66.  BALACA,  (RiCAKDo.) 

This  picture  represents  the  scene  at  the  reception  of  Columbus  by  the 
Catholic  Kings  in  Barcelona,  on  his  return  from  his  first  voyage.  The  Admiral 
is  represented  in  front  of  the  Sovereigns  addressing  them.  He  is  richly  dressed 
in  the  garb  of  an  Admiral,  the  face  is  clean  shaven,  the  hair  white,  arid  the 
features  of  his  face  correspond  with  the  accepted  descriptions  of  Columbus. 
The  Kings  are  seated  under  a  canopy  on  chairs  of  state,  which  are  placed  on 
a  dais  approached  by  three  broad,  low  steps.  At  the  back  of  the  canopy,  is 
an  escutcheon  bearing  the  arms  of  Castile  and  Aragon,  while  at  the  side  of  each 
of  the  Kings  stands  a  herald  in  full  Court  dress,  carrying  a  mace  on  his  right 
shoulder.  Seated  at  the  right  hand  of  the  Queen  is  a  youth,  and  near  him  is 
a  group  of  the  ladies  of  the  Court.  In  the  foreground  are  three  chests,  from 
which  a  kneeling  attendant  has  taken  Indian  spears,  bows,  clubs,  pottery, 
etc.  Kneeling  by  the  side  of  Columbus  arid  regarding  the  scene  with  astonish 
ment  are  the  nude  figures  of  four  Indians  of  both  sexes.  Immediately  behind 
the  Admiral  are  a  number  of  knights,  courtiers  and  ecclesiastics,  representing 
the  most  distinguished  men  at  the  Court  of  Ferdinand  and  Isabella,  who, 
together  with  the  Kings,  are  intently  listening  to  the  absorbing  tale.  All  these 
figures  have  been  taken  from  statues  and  pictures  of  the  time.  The  chamber 
in  which  the  reception  is  being  held  has  stained  glass  windows,  is  hung  with 
tapestry  and  is  very  lofty. 

The  picture  is  a  magnificent  one;  it  was  painted  by  the  famous  Spanish 
artist,  Balaca,  and  will  forever  reflect  credit  on  his  genius  and  skill.  (No.  90.) 

67.  ANCKERMAN,  (RICAKDO.)    RECEPTION  OF  COLUMBUS  AT  BARCELONA. 
The  Admiral  appears  in  the  center  of  the  picture,  kneeling  on  the  steps  of 

the  throne  and  kissing  the  hand  of  Isabella,  while  Ferdinand  stands  by  her 
side.  She  is  surrounded  by  her  ladies  of  honor.  In  the  background  of  the 
picture  to  the  right  are  a  number  of  courtiers  and  military  men.  In  the  fore 
ground  on  the  right  are  seven  Indians  of  both  sexes,  in  different  positions 
wondering  at  the  splendor  of  the  Court. 

It  is  not  only  a  beautiful  painting,  but  it  is  correct  in  the  details  of  types, 
attire,  ornaments  and  architecture.  The  face  of  Columbus  is  very  similar  to 


160  THE  COLUMBUS  GALLERY. 

that  in  the  Naval  Museum  at  Madrid  and  the  lineaments  of  the  King  and 
Queen  are  the  same  as  in  their  well-known  portraits.  The  distribution  of  the 
groups  is  very  effective,  and  even  the  number  of  Indians,  seven,  is  strictly 
accurate  historically. 

68.  GREGORY  (LuiGI.)      COLUMBUS  PRESENTING   THE  NATIVES  TO   THE 
QUEEN. 

This  picture  is  at  the  University  of  Notre  Dame  —  South  Bend,  Indiana. 

69.  GONZALEZ  DE  RlBERA,  (ANTONIO.)      COLUMBUS   OFFERING-  A   NEW 
WORLD  TO  THE  CATHOLIC  KINGS. 

This  large  fresco  is  painted  on  the  ceiling  of  Hall  No.  21,  in  the  Royal 
Palace  at  Madrid.  I  have  examined  guide-books  of  Madrid,  and  have  ques 
tioned  many  of  my  friends  who  have  resided  there,  in  regard  to  this  picture, 
but  to  my  great  regret  I  have  not  been  able  to  obtain  any  more  information 
about  it  than  the  simple  notice  found  in  one  of  the  guide-books.  However, 
as  the  painter  was  a  talented  artist,  I  suppose  it  deserves  more  than  a  passing 
notice. 

70.  COLIN,    (ALEXANDRE  MARIE.)      RECEPTION    OF   COLUMBUS    BY   THE 
CATHOLIC  KINGS. 

This  picture  apears  in  the  Catalogue  of  the  Paris  Salon  of  1861. 

71.  DEVERIA,  (EUGENE.)     RECEPTION  OF  COLUMBUS  BY  FERDINAND  AND 
ISABELLA.     (Paris  Salon,  1861.) 

72.  PLUDDEMANN,  (HERMANN.)     ENTRY  OF  COLUMBUS  INTO  BARCELONA. 
(1842.) 

73.  LEUTZE,    (EMANUEL.)      RECEPTION    OF    COLUMBUS     ON    HIS    FIRST 
RETURN  FROM  AMERICA.     (1847;  in  the  Diisseldorf  Gallery.) 

XY.  The  famous  engraver,  Theodore  de  Bry,  published  in  his  Collection 
of  Voyages,  an  apocryphal  story  which  has  been  widely  circulated.  He  avers 
that  after  Columbus  returned  from  his  first  voyage,  he  was  generously  enter 
tained  by  some  of  his  friends.  One  of  them,  Cardinal  Mendoza,  gave  a 
banquet  in  his  honor  and  some  of  the  grandees  at  the  table  murmured  at 
Columbus  occupying  the  place  of  honor,  as  he  was  not  a  man  of  noble  birth, 
and  went  so  far  as  to  declare  that  any  man  present  would  have  discovered  the 
Indies  just  as  Columbus  had  done.  The  Admiral  took  an  egg  and  asked  if 
any  of  the  guests  could  stand  it  upright  on  the  table.  All  tried  to  do  it  but 
without  success.  Then  Columbus  slightly  broke  the  top  of  the  egg  and  stood 
it  on  the  table,  observing  that  he  had  discovered  the  Indies  just  as  he  had 
found  a  way  of  standing  the  egg  on  end.  This  anecdote,  which  was  first  related 
by  de  Bry,  was  the  origin  of  the  following  engraving  and  paintings. 


THE  COLUMBUS  GALLERY. 
74.     DE  BUY,  (THEODORE.)    COLUMBUS  AND  THE  EGG. 


161 


I  reproduce  this  engraving,  No.  91,  from  the  seventh  plate  of  the  fourth  part 
of  the  Voyages  of  De  Bry,  (Frankfort,  1594.  ) 


75.    HOGARTH,  (WILLIAM.)    COLUMBUS  AND  THE  EGG. 

This  picture  represents  a  man  with  a  full  beard,  holding  an  egg  in  his  hand 
and  in  the  act  of  making  some  explanation.  The  features  are  of  the  Montanus 
type,  "but  the  painting  is  entirely  imaginary.  Notwithstanding  the  usual 


lti~  THE  COLUMBUS  GALLERY. 

accuracy  of  Hogarth  in  all  his  works,  in  this  instance  he  did  not  pay  the 
slightest  attention  to  the  descriptions  of  Columbus  that  have  been  handed 
down  to  posterity  by  his  contemporaries.  It  has  great  artistic  merit,  but 
historically,  it  is  absolutely  worthless,  as  all  the  figures  portrayed  in  it  are  of 
the  most  common-place  and  burlesque  type. 

XVI.  The  saddest  and  most  dramatic  episode  is  his  imprisonment  and 
return  to  Spain  in  chains  by  order  of  the  brutal  Bobadilla.  This  was  on  his 
return  from  the  third  voyage.  As  a  criminal,  heavily  ironed,  he  crossed  for 
the  sixth  time,  that  Sea  of  Darkness  which  his  genius  had  opened  to  his  con 
temporaries.  Poets  and  painters  have  vied  with  each  other  in  depicting 
this  sad  event.  I  will  describe  the  most  important  pictures  relating  to  it. 

76.  DUVAL,  (CHARLES.)   IMPRISONMENT  OF  COLUMBUS.   (Paris  Salon,  1861.) 

77.  MENOCAL,  (ARMANDO.)    THE  FALL  OF  COLUMBUS. 

I  have  only  a  very  indifferent  photograph  of  this  painting.  Aside  from 
some  short  notices  in  the  Havana  papers,  I  have  read  three  articles  regarding 
it.  One  is  from  the  pen  of  one  of  the  most  gifted  sons  of  Cuba,  the  eloquent 
orator  and  eminent  writer,  Manuel  Sanguily:  another  by  the  accomplished 
art  critic  of  Havana,  Aniceto  Valdivia,  widely  known  under  his  nom  de  plume, 
"Conde  Kostia,"  and  the  last  by  an  anonymous  but  very  able  writer  on  the 
staff  of  the  Union  Constitutional,  a  journal  published  in  Havana.  From 
these  articles  I  will  endeavor  to  give  a  short  description  of  the  picture,  and 
the  writers'  opinions  regarding  it.  I  must  add  that  it  will  be  exhibited  at 
the  Chicago  World' s  Fair. 

I  will  commence  by  stating  that  Menocal,  although  still  a  very  young 
artist,  has  attained  a  prominent  rank  in  his  profession,  as  he  follows  the 
established  traditions  of  the  old  Spanish  School  and  is  a  hard  worker. 

The  picture  represents  Columbus  in  the  act  of  stepping  into  the  boat, 
ready  to  take  him  to  the  ship  in  which  he  is  to  sail  for  Spain,  as  a  prisoner, 
by  order  of  his  brutal  foe,  Bobadilla.  He  is  fettered,  and  Captain  Yallejo,  in 
armor,  holds  his  hand,  aiding  him  to  enter  the  boat,  in  which  there  are  already 
three  sailors  and  two  guards:  behind  the  Admiral,  are  his  two  brothers,  also 
fettered  and  surrounded  by  a  strong  guard.  In  the  center  of  the  foreground, 
is  a  priest  with  folded  hands,  looking  sadly  at  the  pathetic  scene.  Other 
passengers  are  taking  leave  of  their  friends,  and  some  of  the  onlookers  seem  to 
deplore  the  disgraceful  proceeding.  On  the  sea  in  the  background  the  vessel 
is  lying  at  anchor  which  is  to  carry  the  Admiral.  On  the  other  side  is  a 
tropical  landscape.  The  grouping  is  excellent  and  all  the  accessories  are 
strictly  historical. 


THE  COLUMBUS  GALLERY. 

According  to  the  above-mentioned  critics,  the  coloring  is  superb,  and  the 
sea,  the  sky  and  the  land  are  as  beautiful  as  can  be  depicted  by  the  painter's 
brush. 

Sanguily   says:     "The   light  is  astonishing  and  wonderful it  seems 

impossible  to  achieve  such  a  marvel  with  the  brush it  must  be  seen 

It  is  necessary  to  stand  before  that  colossal  canvas  in  order  to  understand  the 
deep  pathos  resulting  from  the  happy  conception  of  the  artist,  the  dazzling 
and  wonderful  richness  of  coloring  of  the  Cuban  painter.  Perhaps  some 
may  find  fault  with  the  picture  —  that  may  mean  that  it  is  not  perfect  - 
Granted  —  but  place  yourself  before  it  in  a  proper  position,  and  then  deny, 
if  you  can,  that  you  are  looking  at  something  perfect." 

Valdivia  says:  "Every  one  who  has  seen  it  has  been  surprised  at  the  marvel 
ous  coloring  and  the  wonderful  execution  of  the  painting.  It  is  impossible  to 

crown   misfortune  with  more  greatness all  the  figures  on  shore  are  in 

motion the  portion  of  the  picture  showing  the  bark  is  of  the  first  order. . . 

the  sea  breaking  against  the  reefs the  foam  raised  by  the  restless  sea 

the  moving  horizon  form  a  really  wonderful  painting." 

The  anonymous  writer  says:  "At  a  glance,  it  shows  that  Menocal  is  a  master 
in  painting  the  human  form.  The  Christopher  Columbus  that  he  has  painted, 
tall,  thin,  old,  bent  by  misfortunes,  is  the  ideal  type  of  the  Discoverer  of 

America Menocal  studied  at  Madrid  the  works  of  the  great  masters,  and 

has  returned  to  Havana  possessing  an  original  style,  and  versed  in  all  the 
secrets  and  resources  of  the  Spanish  School,  which  he  knows  how  to 
skilfully  employ.  This  picture  is  admirable  in  color  and  design,  in  relief  and 
in  the  life  of  its  subjects.  Menocal  is  destined  to  be  a  glory  to  Spain  and  to 
Cuba.' 

I  take  pleasure  in  acknowledging  that  I  am  indebted  for  these  notices  and 
a  photograph  of  the  picture,  as  well  as  for  almost  all  the  details  and  reproduc 
tions  of  monuments  and  paintings  in  Cuba,  to  the  kindness  of  a  prominent 
Cuban  lawyer,  Mr.  Carlos  I.  Parraga,  of  Havana. 

78.  PLUDDEMANN,  (EIERMANN).    COLUMBUS  IN  CHAINS  LANDING  AT  CADIZ. 

79.  JOVER,  (FRANCISCO.)     COLUMBUS  RETURNING  IN  CHAINS. 

This  interesting  and  finely  executed  painting  portrays  one  of  the  most 
pathetic  incidents  in  the  life  of  the  Admiral — his  return  to  old  Spain  in 
chains — after  the  third  voyage.  He  is  represented  as  wearing  fetters  on  the 
left  wrist  and  with  both  legs  manacled  and  chained.  He  is  seated  at  a  table 
on  which  are  writing  materials  which  he  has  evidently  just  been  using.  On 
his  right  hand  stand  the  Captain  of  the  vessel  and  another  officer,  pleading 
with  him  to  allow  the  removal  of  the  chains.  With  his  right  hand  he  is 


164 


THE  COLUMBUS  GALLERY. 


<M 

O5 


THE  COLUMBUS  GALLERY. 

waving  them  away,  and  refusing  to  listen  to  their  well-meant  solicitations. 
He  wears  a  fur-trimmed  robe  with  a  coat  beneath  it  extending  to  the  knees, 
and  confined  at  the  waist  by  a  girdle.  His  hair  is  snow-white,  and  the 
dejected  expression  and  attitude  are  those  of  one  who  has  lost  all  hope  and  is 
plunged  in  deep  despair;  (No.  92.) 

80.  MURATON,  (ALPHONSE.)    COLUMBUS  IN  CHAINS. 

My  friend,  the  distinguished  artist,  Mr.  Juan  Peoli,  has  shown  me  the 
valuable  original  sketch  of  this  picture,  which  was  presented  to  him  by  the 
artist.  It  represents  Columbus  in  chains  on  board  of  a  ship,  and  in  the  back 
ground  are  seen  some  Indians,  who  are  being  sent  to  Spain  as  prisoners. 
Columbus  is  standing  ;  he  wears  a  scarlet  coat  and  a  cap  of  the  same  color  ; 
the  features  and  the  dress  are  strictly  historical. 

I  saw  the  finished  picture  in  this  city  some  years  ago,  but  I  cannot  remem 
ber  in  what  collection,  I  have  also  seen  an  engraving  of  it,  but  have  not  been 
able  to  obtain  a  copy. 

81.  PORTMAN,    (CHRISTIAN    J.    L.)       COLUMBUS    IN    CHAINS     SENT    TO 
EUROPE.    (1840.) 

82.  LEUTZE,  (EMANUEL.)    THIRD  RETURN  OP  COLUMBUS  FROM  AMERICA. 
(1842.)     Providence,  R.  I. 

83.  WAPPERS,  (GUSTAAF.)    COLUMBUS  IN  IRONS. 

This  is  a  beautiful  picture.  I  have  reproduced  the  most  important  part, 
the  portrait  of  Columbus,  in  cut  24,  page  42,  where  I  state  my  reason  for  not 
having  reproduced  the  entire  picture. 

84.  MARECHAL,  (CHARLES  L.)    COLUMBUS  BROUGHT  BACK  IN  CHAINS. 
This  magnificent  water-color  was  formerly  in  the  collection   of  Prince 

Napoleon.  Years  ago  I  saw  a  beautiful  engraving  of  it,  but  have  never  been 
able  to  find  another.  The  description  by  the  eminent  critic  Maxime  du  Camp, 
says  among  other  things:  "All  the  suffering  that  human  nature  can  bear  is 
imprinted  upon  that  thoughtful  face  resting  on  the  contracted  hand.  It  is  the 
desperation  of  a  man  of  genius  who  apparently  begins  to  doubt  the  existence 
of  a  God.  There  are  many  paintings  100  feet  square  which  do  not  contain  the 
burning  pathos  and  the  great  drama  shown  in  this  water  color,  the  most  beau 
tiful  that  I  have  ever  seen.  Mr.  Marechal  has  given  a  sublime  reality  to  a 
popular  tradition."  (1851.) 

XVII.  The  brutal  conduct  of  Bobadilla  to  Columbus  greatly  displeased 
the  Catholic  Kings.  Immediately  after  the  arrival  of  the  Admiral  they  gave 
orders  for  his  release,  sent  him  a  large  sum  of  money,  and  ordered  him  to 
appear  at  once  before  them.  When  he  reached  the  Court  he  was  received  with 


THE  COLUMBUS  GALLERY. 


CO 

o: 


THE  COLUMBUS  GALLERY.  167 

the  highest  marks  of  favor,  and  was  reinstated  in  all  his  honors  and  titles. 
At  another  audience  he  had  an  opportunity  to  give  a  detailed  account  of  his 
third  voyage.  A  great  and  well-known  Spanish  painter  and  a  distinguished 
German  painter  have  portrayed  these  events  in  the  following  paintings. 

85.  JOVEII,  (FRANCISCO.)     COLUMBUS  DESCRIBING  His  THIRD  VOYAGE  TO 
THE  CATHOLIC  KINGS. 

The  Admiral  is  represented  as  narrating  the  story  of  his  voyages  to  the 
Kings,  who  are  attentively  listening  to  him.  This  picture,  like  all  those  on 
Spanish  subjects  of  the  modern  Spanish  school,  has  the  great  merit  of 
accurately  following  the  most  minute  details  of  the  types,  dresses,  ornaments, 
furniture  and  architecture  of  the  day.  (See  cut  No.  93.) 

In  the  central  group  are  the  Kings,  and  on  their  left  stand  the  Marchioness 
of  Moya  and  other  ladies  of  the  Queen' s  suite.  On  the  right  of  Ferdinand 
stand  Deza  and  a  lady  of  the  Court.  On  the  left  of  the  picture  is  the  group 
showing  the  seated  figure  of  Columbus,  and  three  courtiers  standing  behind 
his  chair. 

The  features  of  Columbus  and  of  the  Kings  are  admirable  in  expression, 
and  the  picture  is  of  great  artistic  merit. 

86.  LEUTZE,  (EMANUEL.)    KING  FERDINAND  REMOVING  THE  CHAINS  FROM 
COLUMBUS.     (1843.) 

87.  JOVER,  (FRANCISCO.)     COLUMBUS  REINSTATED  IN  His  HONORS. 

XVIII.  The  last  days  of  Columbus  and  his  death  form  the  subject  for  the 
two  pictures  now  to  be  described. 

88.  (JACQUAND,  (CLAUDIUS.)     COLUMBUS  ON  His  DEATH-BED,  SHOWING 
His  CHAINS  TO  His  SON.     (1870.) 

89.  EDWARD,    (MAY.)      LAST    DAYS    OF    CHRISTOPHER  .  COLUMBUS,    OR 
COLUMBUS  MAKING  His  WILL.     Paris  Salon,  1861. 

90.  WAPPERS,  (G-USTAAF.)    DEATH  OF  COLUMBUS. 

This  is  a  very  dramatic  picture.  Columbus  blesses  his  son  who  is  kneeling 
by  his  side.  The  chains  are  seen  over  a  large  chest.  There  is  a  beautiful 
engraving  of  it  by  Devachez. 

91.  PLUDDEMANN,  (HERMANN.)    DEATH  OF  COLUMBUS.     1840. 

92.  ORTEGA,  (FRANCISCO.)     DEATH  OF  COLUMBUS. 

This  powerful  and  artistic  painting  represents  the  death-bed  of  Colum 
bus,  the  closing  scene  of  his  eventful  and  unhappy  life.  The  Admiral 
is  lying  on  a  miserable  pallet  in  a  meanly  furnished  room  of  a  poor  inn  ar 
Valladolid.  The  coverlid  is  drawn  over  the  lower  portion  of  the  face.  Around 
him  are  his  friends,  Diego  Mendez,  kneeling  at  the  foot  of  the  bed,  and  some 


o 


THE  COLUMBUS  GALLERY.  160 

monks,  together  with  certain  of  his  relatives,  while  his  son  kneels  at  the  head 
of  the  bed  with  his  face  buried  in  the  pillows  and  his  arm  supporting  the  head 
of  his  father.  (No.  94.) 

XIX.  The  following  are  allegorical  pictures  referring  to  Columbus  and  his 
discoveries. 

93.  THE  TRIUMPH  OF  COLUMBUS,  from  a  drawing  supposed  to  be  by  himself. 
This  drawing  has  been  taken  from  a  MS.  kept  in  the  Ducal  Palace  at 

Genoa,  it  being  supposed  that  the  design  is  from  an  original  sketch  by 
Columbus  himself.  It  is  enclosed  in  a  frame  about  10  x  8  inches.  In  the 
center  of  the  picture  is  Columbus  sitting  in  a  chariot,  whose  wheels  are  bearing 
him  through  a  boisterous  sea,  in  which  are  dimly  seen  some  monsters,  typify 
ing  Envy  and  Ignorance,  his  greatest  enemies.  Providence  sits  by  the  side  of 
the  Admiral.  Two  sea-horses  representing  Constancy  and  Tolerance,  are 
drawing  the  chariot  which  is  pushed  by  the  Christian  Religion,  and  in  the  air 
above  Columbus  are  Victory,  Hope  and  Fame.  (No.  95.) 

94.  ALEU,  (RAFAEL.)    THE  APOTHEOSIS  OF  COLUMBUS. 

The  celebrated  Spanish  artist  Aleu,  in  painting  this  picture  now  at  Madrid, 
has  availed  himself  of  a  sketch  which  is  supposed  to  have  been  drawn  by 
Columbus,  now  in  the  City  Hall  at  Genoa,  and  in  which  the  Admiral  depicts 
his  own  apotheosis.  I  have  already  described  and  reproduced  this  drawing. 
The  painter  has  not  closely  followed  the  original  idea. 

In  the  foreground  Europe,  Asia  and  Africa  gaze  wonderingly  at  the  scene 
before  them,  listening  to  the  trumpet  blast  of  an  allegorical  figure  of  Fame. 
In  another  part  of  the  picture,  and  above  a  cloud,  is  a  group  of  Red  Indians 
contemplating  Columbus  with  astonishment.  He  appears  enveloped  in  clouds, 
and  radiant  with  dignity  and  majesty,  seated  in  a  golden  car  in  the  shape  of  a 
shell,  symbolical  of  the  frail  caravels,  which  is  driven  by  a  figure  representing 
Providence.  In  the  background  are  two  tmgels  placing  the  crown  of  Viceroy 
of  the  Indies  on  the  head  of  the  Admiral,  and  a  throng  of  illustrious  men  is  seen 
through  the  mist  applauding  the  great  deeds  of  the  Discoverer.  On  the  border  of 
the  picture  are  the  portraits  of  Isabella,  Fernando,  Fray  Antonio  Marchena,  Juan 
de  la  Cosa,  Martin  Alonzo  Pinzon  and  Juan  Perez.  At  the  head  of  the  picture 
is  the  coat  of  arms  of  Spain,  at  the  foot  is  that  of  Columbus,  while  at  the  sides 
are  those  of  eight  of  the  most  important  cities  where  the  principal  events  in  the 
life  of  the  Admiral  occurred,  viz :  Genoa,  Huelva,  Granada,  Salamanca,  Barce 
lona,  Seville,  Cadiz  and  Valladolid. 

95.  CHENAVARD,  (PAUL  J.)     CONQUEST  OF  THE  NEW  WORLD. 
Theophile  Gautier  gives  the  following  description  of  this  magnificent  com. 


170 


THE  COLUMBUS  GALLERY. 


95 — TETFMPH   OF   OOLFMBUS. 


THE  COLUMBUS  GALLERY.  171 

position  which  was  intended  for  a  fresco  in  the  Pantheon.  "The  Admiral's 
vessel,  commanded  by  Columbus,  is  seen  standing  crosswise  in  the  foreground, 
which  is  formed  by  the  breaking  waves.  In  the  high  castle  on  the  poop,  built 
after  the  singular  fashion  of  the  naval  constructions  of  those  times,  Christopher 
Columbus  stands,  surrounded  by  his  Spaniards  and  some  Indian  captives  ; 
the  sailors  and  the  slaves  are  loading  the  ship,  which  lies  off  the  land,  with 
lumps  of  virgin  gold,  strange  idols,  feather  mattresses,  birds,  parrots  of  bril 
liant  plumage,  and  all  that  European  research  was  able  to  plunder  from  that 
world,  unveiled  as  the  Eldorado  of  adventurers." 

There  is  an  admirable  engraving  of  this  cartoon  by  Hanf  Staengl. 

96.  HUNT,  (WILLIAM  MORRIS.) 

In  the  American  Art  Review  I  find  an  article  by  Mr.  F.  P.  Yinton,  in  which 
he  describes  a  picture  by  the  American  artist,  William  Morris  Hunt,  repre 
senting  the  Discoverer.  Columbus  is  in  a  barque,  steered  by  Fortune  and 
three  allegorical  female  figures  representing  Hope,  Science  and  Faith  accom 
pany  him.  The  opinion  of  Mr.  Vinton  is  not  very  favorable  to  the  painting, 
of  which  I  have  seen  only  a  very  indifferent  engraving.  The  picture  is  in  the 
new  Capitol  at  Albany. 

97.  HAMILTON,  (JAMES.)     VISION  OF  COLUMBUS. 

In  the  possession  of  Mrs.  Joseph  Harrison,  Philadelphia,  Pa. 

XX.  The  celebration  of  the  first  mass  on  the  New  Continent  and  in  the  city 
of  Havana,  are  commemorated  in  the  following  pictures. 

98.  THE  FIRST  MASS  IN  AMERICA. 

This  splendid  work  is  from  the  brush  of  a  young  Cuban  artist,  Jose  Arburu 
y  Morell,  who  was  born  at  Havana,  in  1864,  and  died  in  Paris,  in  1889,  before 
he  was  25  years  of  age.  He  first  studied  at  the  Academy  of  San  Alejandro, 
Havana,  under  Melero,  and  afterwards  at  the  Academy  of  San  Fernando, 
Madrid,  under  the  direction  of  Dominguez.  He  was  also  a  distinguished 
sculptor,  and  was  awarded  the  first  prize  for  his  painting,  "The  First  Mass  in 
America,"  in  a  competition  opened  in  1888  by  La  Ilustracion  Espanola  y 
Americana,  of  Madrid.  The  picture  was  warmly  commended  by  such  eminent 
artists  as  Pradilla  and  Plasencia,  and  in  the  opinion  of  painters  should  have 
been  on  a  canvas  of  20x25  feet  in  length,  but  the  painter  had  not  the  necessary 
funds  for  such  a  large  work. 

I  am  indebted  for  these  notes  and  a  description  of  this  splendid  picture, 
written  by  Julian  Casal,  to  the  kindness  of  my  friend,  Mr.  Jose  Ramirez  de 
Arellano,  of  Havana,  who  also  sent  me  a  photograph  and  an  engraving,  from 
which  it  is  impossible  to  take  a  satisfactory  copy  : 


172  THE  COLUMBUS  GALLERY. 

"Under  a  light-blue  sky  dotted  with  rose,  amber  and  violet-colored  clouds, 
is  seen  the  calm,  blue  surface  of  the  ocean,  flecked  with  snowy  foam.  The 
dim  gray  line  of  the  horizon  is  merged  in  the  vastness  of  the  sea.  On  the 
shore,  to  the  left  of  the  spectators,  a  large  canopy  has  been  raised,  and  the 
wind  is  rustling  the  folds  of  the  canvas,  under  which,  on  a  crimson  carpet,  and 
against  a  gigantic  tree,  stands  an  altar.  A  priest  with  a  long  beard,  robed  in 
a  white  cassock  fringed  with  gold,  and  attended  by  a  fair-haired  acolyte, 
celebrates  mass,  and  is  represented  in  the  act  of  blessing  his  congregation,  the 
members  of  which  are  grouped  on  the  right,  some  standing  and  some  kneeling. 
In  front  of  them  and  closer  to  the  altar,  saluting  with  his  sword,  and  holding 
a  standard  in  his  left  hand  is  the  venerable  figure  of  the  Admiral,  his  gray 
hair  shining  under  the  rays  of  the  sun.  That  austere  face  furrowed  by  grief 
and  misfortune,  beams  with  benevolence  and  modesty.  He  appears  to  be  deaf 
to  the  cheers  of  one  of  the  most  enthusiastic  of  his  followers  who  stands  behind 
him,  and  devoting  his  entire  attention  to  the  religious  ceremony. 

Near  the  great  Genoese  is  a  Dominican  friar  with  his  cowl  thrown  back  and 
praying  fervently.  The  persons  assembled  in  the  background  are  in  various 
positions,  and  the  expressions  on  their  faces  are  different.  The  grouping  is 
splendid.  On  the  left  are  a  number  of  copper- colored  Indians  with  bristling 
hair,  half-naked  and  crouched  near  the  altar,  showing  in  their  large  black  eyes, 
wonder  or  indifference.  The  whole  composition  which,  but  for  the  genius 
of  the  artist  would  have  bordered  on  the  theatrical,  is  heroic,  grand  and 
touching." 

99.     YERMAY,  (JUAN  B.)    FIRST  MASS  IN  AMERICA. 

In  the  Templete  at  Havana,  there  is  a  picture  representing  the  first  mass 
celebrated  in  America,  on  the  spot  where  Havana  was  first  founded,  on  the 
southern  coast  of  Cuba.  It  was  said  by  one  of  the  priests  who  accompanied 
Columbus  on  his  second  expedition,  and  it  is  supposed  that  the  Admiral  was 
present  on  the  occasion.  I  last  saw  this  picture  about  thirty  years  ago,  and 
have  entirely  forgotten  its  details.  Perhaps,  it  did  not  attract  my  attention  on 
account  of  the  bad  light  in  which  it  is  placed ;  yet  as  this  picture  and  the  two 
others  in  the  same  building  are  from  the  brush  of  the  distinguished  French 
painter,  Juan  B.  Yermay,  I  suppose  that  they  must  possess  considerable  merit. 

XXI.  The  following  five  pictures  I  cannot  properly  include  in  any  par 
ticular  series,  for  the  reason  that  all  I  know  about  them  is  that  I  have  seen 
them  mentioned  in  various  catalogues,  but  with  no  description.  I  do  not  even 
know  whether  they  are  portraits  or  paintings,  but  as  they  are  all  the  works  of 
distinguished  artists,  I  have  thought  proper  to  at  least  mention  them. 


THE  COLUMBUS  GALLERY.  173 

100.  HARTE,  (S.  A.)     COLUMBUS  AND  THE  CHILD. 

101.  KEYSER,  (NICAISE  DE.)     COLUMBUS  WITH  His  SON  LEAVING  BARCE 
LONA. 

102.  MASO,    (FELIPE.)      COLUMBUS   AND   His   SON.      (1875.)      Valparaiso 
Museum. 

103.  COLIN,  (ALEXANDER.)     CHRISTOPHER  COLUMBUS.     (1846.) 

104.  HAMMAN,  (EDOUARD  JEAN.)    CHRISTOPHER  COLUMBUS.    (1869.) 

To  this  long  list  I  must  add  that  there  is  a  very  large  number  of  pictures, 
both  in  private  and  public  galleries,  which  are  entirely  unknown  to  me,  and 
many  others  which  have  been  destroyed  by  fire,  shipwreck  or  other  accidents. 
I  have  read  that  about  the  middle  of  the  sixteenth  century,  il  Fiazello,  other 
wise  called  il  Sarzana,  painted  a  number  of  large  canvases  illustrating  the 
history  of  Columbus  for  the  Ducal  Chapel  at  Genoa,  and  that  they  were 
destroyed  in  a  terrible  conflagration  in  the  following  century.  I  have  also 
read  that  two  pictures  illustrating  events  in  the  life  of  Columbus,  were 
destroyed  by  the  Communists  at  the  Tuileries,  in  Paris,  and  that  in  the 
Durazzo  and  Santi  palaces  at  Genoa  there  are  beautiful  pictures  referring  to 
Columbus ;  also  that  Scaramuzza  painted  by  order  of  the  Faragiano  family 
some  splendid  pictures  in  the  Acquaverde  palace,  and  that  in  the  Hall  of 
Deputies  at  Madrid  there  are  some  other  paintings  relating  to  the  discovery 
of  America.  I  can  only  mention  them,  as  I  have  been  unable  to  obtain 
any  further  information  or  any  descriptions  of  these  pictures. 


THE  COLUMBUS  GALLERY. 


175 


GENERAL   INDEX. 


Description  of  Columbus  by  his  son  Ferdinand  Columbus,  Las  Casas,  Martyr  and  Oviedo 


PORTRAITS. 


PAGE. 

Albany  

45 

Altamira  

19 

Altissimo  (Cut  No.  3)  

~ 

Anonymous  (47)  

71 

(  < 

72 

Archives  of  the  Indies  

45 

Banchero  (  17  )  

27 

Barabino  (23)  

40 

Bazin  

73 

Belvedere   (8)  

16 

Berwick-Alba  (  27  )  

44 

Bierstadt  

63 

Bol,   Ferdinand  

52 

Borghese  

18 

Borgona,  Juan  de  

46 

Bossi  

47 

Bramantino  

15 

Bry   Theodore  de  (28)  

47 

Bry,            "         "     (29)  

48 

Cancellieri  (9  )  

17 

Cantu,   Cesar  (14)  

24 

Capriolo,  Alessandro  (11)  

20 

Carnicero  

49 

Carthagena  

49 

Cevasco  (13)  

22 

Cladera  (30)  

49 

Ciuny  Museum  

35 

Cogoletto  (G)  

12 

Columbine  Library  

52 

Columbus  on  horseback  

72 

Concord  

62 

Cosa,  Juan  dela  (18)  

28 

Cuccaro  No.  1  

14 

No.  2  

14 

Dapper  (39)  

58 

Edward,  Bryan  (48)  

72 

Ellsworth  (19)  

30 

Ermitage  

52 

Esteva  

45 

45 

Flameng,  Leopold  (Cut  No.  31).  .. 

52 

19 

Florence  Gallery  (  3  )  .... 

i 

Fontaine  

....         53 

71 

Giordano,  Luca  (  32  )   

53 

72 

Giulio  Romano  (  38  )  

58 

45 

Gunther  (20)   

35 

27 

Havana  (33)  

53 

40 

Herrera  (34)   

54 

73 

"         vignette  (  35  )  

54 

16 

Holt  (22)  

40 

44 

Hull  (36)   

'54 

63 

Huntington   

..      ..   46-55 

52 

Jacotin  (  25  )     

43 

18 

Jomard  (37)    

55 

46 

Jovius  (  1  )                                          •  •  • 

4 

47 

15 

Landon           

73 

47 

73 

48 

Legrand    Charles  (  12  )   

21 

17 

Lotto  (19)             

30 

24 

Maella(40)                    

59 

9,0 

18 

49 

61 

49 

Montano  (39)  

58 

22 

Moore    More    Moro    Morus  (20) 

35 

49 

Munoz  (40)        .                     

59 

35 

Naval  Museum  (  12  )  

21 

12 

26 

52 

\    Y"    Geographical  Society   

23 

72 

Orchi   Court  de  (  7  )           

14 

62 

Parmigiiinino   (  41  )   

61 

28 

Pas    Crispin  de  (  10)         

17 

14 

Philoponus  (  42  )  

64 

14 

Piombo   Sebastian  del    

15,  19,  28,  64 

58 

Ribera        

64 

72 

43 

30 

Rinck  (43)                      

64 

52 

Rincon    Antonio  del  (  15  )  

24 

45 

Rouen.  No.  1.  . 

26 

176 


THE  COLUMBUS  GALLERY. 


PORTRAITS— Continued. 


Rouen  No.  2.   

Scardoni 

Scotto 

Selma 

Stuppi 

Suardi,  Bartolomeo 

Talleyrand 

Terla 

Thevet,  No.  1  (Cut  No.  44). 

No.  2(45) 

Titian  (37) 

Uffizi  Gallery  (3) , 

Vanloo. . 


PAGE 

27 
65 
65 
73 
23 
15 
19 
73 
65 
67 
55 
7 
46 


Vasco 

Vazquez 

Venetian  Mosaic  (Cut  No.  26). 

Veragua 

Versailles  No.  1  (46) 

No.  2 

Villafranca 

Wappers  (24) 

YanezNo.  1  (4) 

"      No.  2  (5) 

Zatta 

Zschosch  (21)...    . 


35 
68 

43 

68 


19 
42 
9 
10 
73 
39 


MONUMENTS,  STATUES,  ETC. 


PAGE. 

Barcelona,  Spain,  Monument  at  (53-54)..  84 

Bayamo,  Cuba,  Statue 107 

Boston,  Statue 115 

Cardenas,  Cuba,  (63) 106 

Chicago,   Fountain   127 

Cifuentes,  Cuba,  Bust 107 

Colon,  Colombia,  Statue  (65) 109 

Colon,  Cuba,  Statue  (62) 104 

Genoa,  Italy,  Monument  ( 49 ) 75 

"      Custodia(50) 79 

Statue 79 

"       Bust  at  the  University 80 

"       Bust  at  the  Royal  Palace 80 

Statue  at  the  Red  Palace...  80 

''       Group,  Genius  of  Columbus  81 

Granada,  Spain,  Monument 83 

Havana,  Garbeille  Statue  (  57  ) 96 

"       Bust  at  the  Templete 96 

''        Columbus  in  chains  (  58) 98 

Monument  (59) 98 

Tomb  at  the  Cathedral  (  60  ) 101 

High  relief  at  the  Cathedral  (61).  102 

Huelva,  Spain,  Monument  (52) 84 

Lima,  Peru,  Statue  ( 67 ) 113 

Madrid,  Spain,  Statue  (  55  ) 91 

''       Statue  at  Naval  Museum..  92 

'•       Monument  (56) 92 

Mexico,  Monument  (  66  ) Ill 

Milan,  Italy,  Statue 81 

Monteverde,  Infant  Columbus,    Staiue 115 


PAGE 

Nassau ,  Statue 96 

New  York  Monument  (  68 ) 116 

Columbus  Fountain  (69- 70)..  119 

"            Historical  Society,  Bust 121 

Sunol,  Statue 122 

Central  Park,  Statue 122 

"             Memorial  Arch 122 

Paris,  France,  Statue 82 

Pavia,  Italy,  Bust  (80) 81 

Philadelphia  Statue  (  71 ) 123 

Kevelli,  Statue  of  Columbus 81 

Rome,  Italy,  Capitoline  Museum,  Bust...  81 

Sacramento,  California,  Statue 125 

Salamanca,  Spain,  Monument 82 

Santiago,  Chili,  Statue 115 

Santo  Domingo,  Monument  (6i) 108 

Scranton,  Pennsylvania,  Statue 124 

Seville,  Spain,  Archives  of  the  Indies,Statue  82 

"           "      Cartuja,   Statue 82 

St.  Louis,  Missouri,  Statue 128 

Trujillo,  Honduras,  Statue 109 

Valparaiso,  Chili,  Bust 115 

Vela,  Columbus  and  America 81 

Vignolo,  Genius  of  Columbus. ...    81 

Washington,  Persico,  Group 125 

Doors  of  the  Capitol  (72)...  125 

Bust. 127 

High  relief  at  the  Rotunda..  127 

Watling  Island,  Monument 95 


THE  COLUMBUS  GALLERY, 

MEDALS. 


Ihr" 
7  < 


Italian  Medal  (Cut  No.  78) 130 

Lopez  Medal  ( 76  -  77  ) 130 


Maura  Medal  (Cut  No.  73-74-75). 


PAGE. 

120 


HISTORICAL  PAINTINGS. 


PAGE. 

Aleu.     Apotheosis  of  Columbus 169 

Anckermann.     Reception  of  Columbus  at 

Barcelona 159 

Arburu  y  Morell.      First  Mass  in  America  171 
Balaca.     Columbus    taking    leave    of    the 

Prior  (84) 147 

Bdlaca.      Reception   of   Columbus  by  the 

Catholic  Kings  in  Barcelona  (90).  . . .  159 
Barabino.     Columbus  before  the  Council  of 

Salamanca  (  23  ) 137 

Bierstadt.     Landing  of  Columbus 155 

Brozik.     Columbus    soliciting     aid     from 

Isabella  (79) 135 

De  Bry.     Columbus  at  Sea  (  86  )    149 

De  Bry.     Allegory.   Columbus  at  Sea  (  87  )  149 

De  Bry.     Columbus  and  the  Egg 161 

Cano.     Columbus  at  La  Rabida  (83) 143 

Carlone.     Columbus    Planting   the   Cross 

on  the  first  Land  Discovered 153 

Chenavard.      Conquest  of  the  New  World  169 

Closs.     Landing  of  Columbusat  Guanahani  155 

Gloss.    Shipwreck   of  the  Santa  Maria. ...  155 

Colin.    Cristopher  Columbus 173 

Colin.     First  arrival  of  Columbus  in  Spain  136 

Colin.    First  Voyage  of  Discovery 149 

Colin.    Reception     of    Columbus    by    the 

Catholic  Kings 160 

Columbus — Triumph  of — by  himself?  (95)  170 

Conconi —  Mauro— The  Youth  Columbus.  133 
Crespo.      Presentation     of    Columbus    to 

the  Catholic  Kings 134 

Dehohencq.      Columbus  at  the  Convent  of 

La  Rabida 142 

Deveria.      Reception  of  Columbus  by  Ferd 
inand  and   Isabella 160 

Durazzo 173 

Diethe.    Landing  of  Columbus  at  San  Sal 
vador    155 

Duval.      Imprisonment  of  Columbus 162 

Edward.      Last  Days  of  Christopher  Col 
umbus  or  Columbus  making  his  Will  167 

Elmore.     Columbus  at  Porto  Santo 134 

Espalier  y  Rull.     Discovery  of  America.  .  151 


PAGE. 

Fiazello 173 

Gandolfi.      Reception  of  Columbus  at  Bar 
celona  157 

Gisbert.      Departure  of  Columbus  (85)...        147 
Gonzalez   de    Ribera.     Columbus    Offer 
ing    a    New    World   to    the    Catholic 

Kings 160 

Gregori.     Columbus    Presenting  the  Na 
tives  to  the  Queen 160 

Guterbock.     Columbusat  La  Rdbida.  . . .       142 

Hamilton.      Vision  of  Columbus 171 

Hamman.      Christopher  Columbus 173 

Hamman.     Landing  of  Columbus 155 

Harte.     Columbus  and  the  Child 173 

Heaton .      Recall  of  Columbus 143 

Hogarth.     Columbus  and  the  Egg 161 

Hunt.     Discoverer 171 

Hurlstone.     Columbus  Demanding  Alms       141 
Izquierdo.       Columbus    Before    the    Do 
minicans  (80) 137 

Jacquand.      Columbus  on  His    Death  Bed 

Showing  His  Chains  to  His  Son 167 

Jollivet.     Christopher   Columbus  Discov 
ering  America 151 

Jover.     Columbus    Describing  His  Third 

Voyage  to  the  Catholic  Kings  (93).  .  .       167 
Jover.     Columbus    Returning    in    Chains 

(92) 163 

Jover.        Columbus     Reinstated     in    His 

Honors 167 

Keyser.      Columbus    with  His   Son  Leav 
ing  Barcelona 173 

Langse.     Columbus  at  La   Rabida 142 

Leutze.      Columbus  before  the  Queen. ...        136 
Leutze.     Columbus  before  the  Council  of 

Salamanca 137 

Leutze.     Columbus  at  the  gate  of  the  Mon 
astery  of  La  Rabida 141 

Leutze.      Departure     of     Columbus     from 

Palos 147 

Leutze.      First    Landing    of   Columbus    in 

America 155 


THE  COLUMBUS  GALLERY. 

HISTORICAL  PAINTINGS— Continued. 


PAGE. 

Leutze.     Reception   of  Columbus   on    his 

first  Return  from  America . .       160 

Leutze.     Third  return  of  Columbus  from 

America .    ...    165 

Leutze.     King  Ferdinand    Removing   the 

Chains  from  Columbus 167 

Lucy.     Columbus  at  La  Rabida 142 

Maso.     Columbus  and  his  Son 173 

Maso.     Columbus  at  La  Rabida 142 

Maso.     Columbus     before     the     Domini 
cans  (  Cut  No.  81 ) 137 

IVTaso.     Columbus  at  Sea  149 

Marechal.      Columbus    Brought    Back    in 

Chains 165 

Menocal.     The  Fall  of  Columbus 162 

Mercade.     Columbus   Begging  for  Bread 
at    the   Gate  of   the    Convent   of    La 

Rabida 141 

Merino.     Columbus    Before    the  Faculty 

of  the  University  of  Salamanca 140 

Merino.     Columbus  at  La  Rabida 143 

Merino.     Columbus  Bidding   Farewell  to 

His  Sons 147 

Munoz-Degrain.      Isabella   Offering  Her 
Jewels   in  Aid    of  the    Enterprise   of 

Columbus 135 

Muraton.     Columbus  in  Chains 165 

Ortega .     Death  of  Columbus  (94) 167 

Pelagio.     The  Return  of  Columbus 157 

Pickersgill.     Columbus  at  Lisbon 134 

Piloty.      The    Discovery  of    America    by 

Columbus 149 

Pliiddemann.      Columbus  Disputing  with 

the  Junta  at  Salamanca 137 

Pliiddemann.  Columbus  at  La  Rabida...  142 
Pliiddemann.  Columbus  Discovering  Land  151 
Pliiddemann.  Entry  of  Columbus  into 

Barcelona 160 

Pliiddemann.      Columbus  in  Chains  Land 
ing  at  Cadiz 163 

Pliiddemann.     Death  of  Columbus 167 


Portman.      Columbus   in    Chains   Sent  to 

Europe 165 

Powell.     Columbus  in  Sight  of  Land 151 

Puebla.     Landing  of  Columbus  (Cut  No. 

89) 155 

Robert    Fleury.      Christopher   Columbus 

Received  at  the  Court  of  Spain 136 

Rothermel.  Columbus  Before  Isabella. .  136 
Rothermel.  Embarkation  of  Columbus. .  147 
Rotting.  Columbus  Before  the  Council 

at   Salamanca 137 

Ruben.     Columbus  Discovering   Land...        151 

Santi 173 

Sarzana 173 

Scaramuzza 173 

Segni.      Departure  of  Columbus 145 

Solimene.       The   Landing    of  Columbus 

on  American  Soil 151 

Tavarone.       Columbus    Explaining     His 

Plans  to  the  Doge  of  Venice 134 

Tavarone.     Columbus  in  the  Presence  of 

Ferdinand  and  Isabella 134 

Vanderlyn.     Landing  of  Columbus  (88). .       153 

Vermay.     First  Mass  in  America 172 

Wilkie.     Columbus  at  La  Rabida  (82) 142 

Wappers.     Columbus  in  Irons 165 

Wappers.     Death  of  Columbus 167 

Anonymous.          Columbus        Demanding 
Bread  and  Water  for  His  Son   at  the 

Convent  of  La  Rabida 141 

Anonymous.      Columbus  Explaining  His 

Plans  to  the  Monks  at  La  Rabida 142 

Anonymous.      At  La   Rabida.       Publica 
tion  of  the  Royal  Edict  at  Palos  Rela 
tive  to  the  Armament  of  the  Caravels.        145 
Anonymous.        La     Rabida.        The    Em 
barkation  at  Palos . .       147 

Anonymous.       Triumph    of    Columbus — 

Ducal  Palace  at  Genoa  (95) 169 

Anonymous.     Annunziata  Palace,   Genoa 

— Reception  of  Columbus  at  Barcelona..        157 


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